UC-NRLF 


13-54 


I 


1917 


B    3 


The  Other  Girl 


MJGUSTUS  THOMAS 


SAMUEL  FRENCH,  28-30  West  38th  St.,  New  York 


THE  OTHER  GIRL 

A  COMEDY  IN  THREE  ACTS 


BY 

AUGUSTUS    THOMAS 


REVISED,  1917,  BY  AUGUSTUS  THOMAS 
COPYRIGHT,  1917,  BY  AUGUSTUS  THOMAS 


ALL  RIGHTS  RESERVED 


CAUTION:  Professionals  and  amateurs  are  hereby  warned 
that  "  THE  OTHER  GIRL  ",  being  fully  protected  under 
the  copyright  laws  of  the  United  States,  is  subject  to  a 
royalty,  and  anyone  presenting  the  play  without  the 
consent  of  the  owner  or  his  authorized  agents  will  be 
liable  to  the  penalties  by  law  provided.  Application  for 
amateur  acting  rights  must  be  made  to  SAMUEL  FRENCH, 
28-30  West  38th  Street,  New  York.  Application  for  the 
professional  acting  rights  must  be  made  to  the  American 
Play  Company,  33  West  42nd  Street,  New  York. 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHES 

28-30  WEST  38TH  STREET 


LONDON 

SAMUEL  FRENCH,  LTD, 
26   SOUTHAMPTON  STREET 
STRAND 


Especial  notice  should  be  taken  that  the  possession 
of  this  book  without  a  valid  contract  for  production 
first  having  been  obtained  from  tne  publisher,  confers 
no  right  or  license  to  professionals  or  amateurs  to 
produce  the  play  publicly  or  in  private  for  gain  or 
charity. 

In  its  present  form  this  play  is  dedicated  to  the 
reading  public  only,  and  no  performance  of  it  may  be 
given,  except  by  special  arrangement  with  Samuel 
French. 

SECTION  28.— That  any  person  who  v.ilfully  or  f^r 
profit  shall  infringe  any  copyright  secured  by  this  act, 
or  who  shall  knowingly  and  wilfully  aid  or  abet  such 
infringment,  shall  be  deemed  guilty  of  a  misdemeanor, 
and  upon  conviction  thereof  shall  be  punished  by  im 
prisonment  for  not  exceeding  one  year,  or  by  a  fine  of 
not  less  than  one  hundred  dollars  nor  more  than  one 
thousand  dollars,  or  both,  in  the  discretion  of  the 
court.  Act  of  March  4,  1909. 


T-4ST4 


PREFACE 


This  is  the  sixth  printed  play  to  which  I  have 
prefixed  a  rambling  but  intimate  preface  in  the  hope 
that  the  lot  might  make  a  series  which,  when  taken 
with  the  plays  themselves  as  illustrations  would  in 
some  way  be  of  help  to  beginners,  and  maybe  less 
battered  and  less  experienced  playwrights.  The 
prefaces  have  been  without  much  dogma  or  set  rules 
because  the  art  of  play  writing  is  more  flexible  than 
most  of  us,  particularly  playwrights  and  critics,  im 
agine  ;  and  because  in  writing  I  felt  more  was  to  be 
conveyed  by  implication  than  by  proclamation;  and 
because  the  practice  of  the  art  is  so  amiable  that 
even  a  person  who  has  been  called  a  "  Dean  "  has 
no  excuse  for  retaliating  in  fulminations. 

The  first  preface  was  for  "  The  Witching  Hour  " 
and  explained  one  way  of  constructing  a  play  that 
was  built  to  carry  a  theory ;  that  for  "  In  Mizzoura  " 
confessed  how  a  star  had  been  provided  with  a 
vehicle ;  the  one  for  "  Mrs.  Lefrmgwell's  Boots " 
admitted  the  assembling  of  rag-bag  material  into  a 
very  light  comedy ;  "  Oliver  Goldsmith's  "  showed  a 
short  way  of  attacking  the  historical  or  dramatiza 
tion  task ;  and  the  one  with  "  The  Earl  of  Paw- 
tucket  ".  the  way  a  comedy  was  constructed  to  fit 
a  man  of  amusing  and  peculiar  manner.  This  pref 
ace  will  relate  the  attempt  to  write  for  two  men 
already  coupled  in  the  attention  of  the  public,  and 
to  do  so  under  pressure  for  time. 

Mr.  John  Drew  had  been  playing  in  "  The 
3 


4  PREFACE 

Mummy  and  the  Humming-Bird ".  He  was  the 
"  Mummy  "  and  Mr.  Guy  Standing  was  the  "  Hum- 
mind-Bird  " ;  but  the  second  hit  of  the  performance 
was  made  by  the  character  part  of  an  Italian  organ- 
grinder  played  by  Lionel  Barrymore.  The  manager, 
Mr.  Charles  Frohman,  liked  the  association  of  uncle 
and  nephew,  and  the  two  family  names  of  Drew  and 
Barrymore,  and  was  in  search  of  a  new  play  that 
would  permit  its  continuance. 

In  the  Spring  of  1902  I  was  about  sailing  with  my 
wife  to  take  our  two  children  to  school  in  France, 
and  as  "  C.  F."  said  good-bye  he  added  "  Write  me 
a  play  for  John  with  a  good  part  for  Lionel ;  I 
need  it  early  in  the  season  ".  That  was  an  agreeable 
assignment,  and  it  filled  such  places  in  the  sum 
mer's  prospect  as  amateur  courier's  duty  left  open. 

In  "  The  Mummy,  etc.,"  Mr.  Drew  had  been  a 
preoccupied  and  inferentially  desiccated  husband. 
Mr.  Barrymore  had  played  an  unwashed  and  al 
most  inarticulate  Italian  with  no  English  speech  but 
much  effective  pantomime.  A  play  with  two  parts 
to  follow  these  should  obviously  be  as  different  as 
possible.  Mr.  Drew  should  be  young ;  and  Mr. 
Barrymore  should  be  American  and  have  somewhat 
to  say.  The  playwright's  obvious  obligation  was  to 
avoid  suggesting  even  remotely  the  types  the  two 
gentlemen  had  just  portrayed. 

In  play-making  the  value  of  an  objective,  even  a 
fairly  vague  one,  is  that  it  acts  like  a  magnetized 
wire,  selectively;  sawdust  and  rubbish  generally  do 
not  stick  to  it,  but  steel  filings  do.  Useful  trifles, 
of  which  without  the  objective  you  would  make  no 
mental  note,  twang  against  it  like  head-on  beetles  at 
a  fly  screen.  In  one  of  the  newspapers  I  had  carried 
aboard  the  Ivernia  was  a  half -stick  item  of  a  young 
preacher  who  had  resigned  his  pastorate  because  of 
his  sense  of  humor.  He  couldn't  control  his  impulse 


PREFACE  5 

to  laugh  during  funerals  and  other  solemn  functions 
if  a  provoking  comicality  invited.  Mr.  Drew  him 
self  has  some  of  this  humorous  lightness  of  trigger, 
against  which  in  his  case  sartorial  exactness  works 
as  a  safety  clutch ;  and  the  laughing  minister  struck 
me  as  a  good  Drew  part. 

Mr.  Drew's  appearance  and  conscious  deportment 
are  Episcopalian.  I  thought  of  him  as  a  Rector. 

For  the  values  of  intimacy,  varied  connections, 
brisk  opportunity,  rapid  contrasts  and  the  like,  I  put 
him  in  charge  of  a  New  York  congregation.  After 
a  very  hurried  mental  inspection,  proper  elimination 
cut  out  all  scenes  in  any  wise  suggesting  the  church 
itself,  and  threw  my  inquiries  altogether  on  his 
social  side. 

Merely  getting  there  made  me  feel  easier  and  more 
free.  "  The  Mummy "  had  been  married ;  my 
preacher  should  be  single.  That  meant  boarding- 
house,  hotel,  or  relative's  home.  I  chose  fashionable 
relative,  and  by  a  logical  process  discovered  his  sister 
and  her  husband,  Henry  Waterman. 

Nature  in  her  preservation  of  balances  seems  to 
give  clergymen's  relatives  a  slightly  sportive  touch, 
so  I  made  sister  thoroughly  worldly  and  made  hus 
band  a  broker  with  a  leaning  to  champagne  and  large 
cigars. 

I  tried  the  broker's  clothes  on  Lionel  but  they 
didn't  fit;  besides  I  couldn't  make  him  take  broker 
age  seriously ;  and  the  wine  and  cigars  took  on  comic 
values  disproportionate  to  mere  accessories.  When 
I  tried  to  take  them  away  from  him  he  grew  argu 
mentative,  and  his  attitude  and  gesture  suddenly  re 
called  what  many  persons  had  often  noticed — a 
singular  physical  and  facial  resemblance  to  Kid 
McCoy,  the  champion  middle-weight  pugilist. 

It  seemed  valuable.     Lionel  was  no  mean  boxer 


6  PREFACE 

himself,  and  if  cast  to  play  a  champion  would  have 
nothing  to  learn  and  very  little  to  assume. 

I  brought  the  two  characters  together  in  my  mind, 
the  preacher  and  the  pugilist.  The  central  idea  of 
my  play  was  found. 

Charles  Frohman  at  that  time  had  a  small  farm 
at  White  Plains  immediately  adjoining  the  health- 
resort  owned  and  conducted  by  William  Muldoon, 
the  retired  champion  wrestler.  "  C.  F."  and  I,  who 
had  both  known  Muldoon  for  years,  sometimes 
walked  over  his  place  when  I  would  be  on  a  visit  to 
the  farm.  The  finest  men  in  the  country,  bankers, 
lawyers,  clergymen,  went  to  Muldoon  for  recupera 
tion;  Grover  Cleveland,  Elihu  Root,  and  men  of 
equal  prominence  were  at  times  his  clients.  The 
great  athletes  also  went  to  him  for  help ;  Kid  McCoy 
had  trained  there  more  than  once.  Nothing  could  be 
simpler  than  that  my  minister,  Dr.  Bradford,  and 
my  Kid  Garvey,  as  I  decided  to  call  the  characters, 
should  meet  at  Muldoon's. 

I  tell  these  ideas,  considered  and  abandoned,  be 
cause  plays  are  built  that  way.  The  mental  work 
room  where  a  play  is  constructed  is  filled  with  the 
lumber  of  discarded  contrivance. 

I  dismissed  the  meeting  at  Muldoon's  because  I 
saw  greater  comic  possibilities  in  the  preacher's  as 
sociation  with  the  fighter  if  the  fighter's  profes 
sionalism  and  pre-eminence  were  unknown.  But  if 
they  were  not  known  the  association  would  have  to 
be  very  private  indeed,  because  nearly  all  the  world 
knows  a  champion.  That  led  to  the  idea  of  home 
training;  and  Kid  Garvay  under  his  proper  name  of 
Sheldon. 

Locations  are  important  matters  of  choice  in  the 
early  stages  of  construction.  For  example :  it  would 
enforce  very  widely  different  avenues  and  results 
whether  one  chose  Muldoon's  gymnasium  at  White 


PREFACE  7 

Plains  or  a  private  house  in  Xew  York  as  training 
quarters.  A  location  must  be  a  place  to  which  your 
characters  may  logically  come,  and  in  which  they 
shall  meet  without  straining  credulity.  Even  the 
private  gymnasium  had  unattractive  features.  The 
introduction  of  the  ladies  would  require  managing. 

About  that  time  the  Century  Club,  on  its  premises 
on  Forty-Third  Street,  had  built  a  summer  extension 
of  its  second  floor  living-room  out  over  the  back 
yard.  This  extension  is  open  to  the  sky  while  the 
flooring  is  slatted  to  let  light  and  air  through  to  the 
windows  below.  Round  tables  are  out  there,  and 
easy  chairs,  and  in  that  time  between  business  and 
dinner,  which  is  known  as  "  the  butler's  hour  ",  re 
laxing  gentlemen  take  mixtures  of  vermouth.  There 
are  some  clergymen  among  the  members.  I  had 
sometimes  sat  there  resisting  temptation  or  other 
wise,  and  feeling  how  wonderful  it  would  be  to  have 
a  private  annex  of  that  kind;  and  now  that  dream 
drifted  into  my  lazy,  deck-chair  musings,  and  I  de 
cided  to  show  my  stage  as  such  a  platform,  built  to 
the  rear  of  the  Waterman  dwelling  on  Fifth  Avenue. 
Half  of  the  back  drop  should  show  the  vine-covered 
wall  of  the  neighbors'  brick  extension  running 
straight  up.  The  other  half  should  picture  glimpses 
of  rear  ends  and  courts  to  houses  some  distance 
away,  evidently  fronting  on  the  side  street.  To  one 
side  of  my  slatted  deck  would  be  an  iron  rail,  pre 
sumably  overlooking  the  remaining  bit  of  back  yard, 
where  my  training  should  be  predicated.  The  other 
side  would  be  doors  to  the  dining-room,  and  above 
those  doors  the  windows  of  two  other  floors, 
respectively  library  and  sleeping  rooms. 

That  scene  decision  was  a  gold  mine.  Relatives 
and  fine  guests  and  servants  came  from  the  dining- 
room  doors ;  the  minister  and  others  looked  from  the 
library ;  young  ladies  spoke  from  the  windows  above. 


8  PREFACE 

My  play  began  to  be  peopled  and  somewhat  artic 
ulated.  These  top  windows  overlooked  the  bit  of 
back  yard  where  the  minister  and  pugilist  sparred. 
The  girls  covertly  watched  them ;  the  pugilist  in  gym 
costume  was  attractive.  One  of  the  girls  fell  in  love 
with  him.  That  was  wrong  on  Fifth  Avenue,  but 
it  was  prolific  in  comic  story. 

This  forbidden  love  suggested  elopement ;  and 
elopement  suggested  automobile,  then  a  newer  factor 
in  stage  stories  than  it  now  is.  The  automobile  sug 
gested  costume — mask  and  domino  with  modern  ap 
plication;  and  this  disguise  brought  in  its  train  the 
chance  for  the  substitution  of  one  girl  for  another, 
and  the  element  of  sacrifice  so  potent  in  all  human 
story.  The  two  girls  naturally  contrasted  as  much 
as  the  two  men;  and  I  paired  off  the  wiser  and 
better  and  plainer  one  with  the  minister. 

A  mesalliance  of  Fifth  Avenue  and  the  prize-ring 
would  not  have  left  a  pleasant  taste ;  and  as  comedy 
and  riot  tragedy  was  wanted,  it  also  would  have  been 
ineffective.  That  led  to  the  elopement  being  de 
feated.  This  would  be  easy  to  do  by  arresting  the 
Kid  for  speeding,  and  by  having  the  elopement  thus 
exposed. 

Having  tentatively  adopted  that  device,  I  looked 
about  for  machinery  to  get  the  Kid  back  again  to 
the  house.  The  detention  by  the  police  of  the  second 
girl  with  the  first  girl's  bag  and  jewels  in  her  posses 
sion  sent  the  Kid  rather  chivalrously  back  for  bail 
and  explanation,  but  it  left  the  now  disillusioned 
first  girl  in  a  rather  hard  predicament. 

At  this  stage  I  was  obliged  to  devise  for  her  con 
solation,  Mr.  Lumley,  the  conventional  suitor,  rather 
insipid,  until  in  trying  to  bring  him  also  into  the 
plexus,  I  hit  upon  the  idea  of  having  him  be  the 
man  the  eloping  automobile  should  run  over.  Lumley 
and  his  torn  dress-suit,  his  hospital  bandages  and 


PREFACE  9 

his  ether  jag  was,  for  this  play,  that  clarifying 
solvent  whose  advent  I  have  so  pressed  upon  your 
notice  in  the  earlier  prefaces. 

In  the  extrication  and  when  all  was  to  be  made 
known,  I  felt  that  Lumley's  own  sentimental  vagaries 
should  have  been  numerous  enough  to  make  him 
charitable  to  Catherine's  one  swerve,  and  in  invent 
ing  his  college-day  chorus-girl  irregularity  I  found 
Mabel,  the  head-liner  now  engaged  to  the  Kid,  and 
the  dramatic  circle  was  compact  and  complete. 

Thus  far  I  had  not  definitely  planned  a  use  of  my 
preacher's  disposition  to  laugh  at  the  wrong  time. 
Nothing  in  the  story  suggested  its  active  employ 
ment.  In  studying  it  into  his  record,  I  had  him 
reported  as  laughing  at  an  important  funeral.  The 
funeral  occurring  to  me  as  possibly  fraught  with  the 
most  enduring  consequences  if  disturbed,  would  have 
been  that  of  a  newspaper  proprietor,  and  would 
therefore  involve  the  cherished  resentment  of  his 
editorial  staff  against  the  preacher  who  had  taken  it 
lightly.  That  gave  me  added  animus  for  the  natural 
reportorial  criticisms  of  the  preacher's  association 
with  the  pugilist.  The  libel  suit  against  the  paper 
was  a  logical  result  and  lent  motive  power  to  the 
early  part  of  the  play.  Closer  knitting  counselled 
the  use  of  the  same  attorney  for  the  minister's 
present  libel  suit,  and  for  the  legal  phases  of 
Lumley's  earlier  chorus-girl  troubles. 

"\Yhen  the  play  was  done  I  sent  the  script  from 
France.  Mr.  Froham  cabled  me  to  come  over  and 
put  it  on. 

"When  I  arrived  in  Xew  York  however,  I  found 
Mr.  Drew  was  not  to  be  in  the  company.  The  Kid 
was  much  too  showy  a  part,  and  while  the  informed 
professional  would  know  that  the  reason  of  his 
greater  success  lay  in  the  opportunities  and  the  char 
acter  of  the  part,  the  paying  public  would  only  see 


io  PREFACE 

that  in  two  consecutive  plays  Mr.  Barrymore  had 
seemed  to  run  away  with  the  honors.  That  would 
be  bad  management  of  an  established  star.  Mr. 
Frank  Worthing  was  therefore  substituted  for  Mr. 
Drew  as  the  minister. 

It  has  nothing  to  do  with  play  writing,  but  it  is 
pleasant  to  recall  that  much  of  the  success  of  the 
original  production  was  due  to  the  unsual  cast.  Old 
play-bills  take  on  lustre  with  time,  because  with  time 
these  actors  have  often  built  up  their  reputations; 
but  "  The  Other  Girl  "  company  was  quite  a  star 
cast  on  its  first  night.  The  ladies  were  Elsie  De- 
Wolff;  and  her  sister-in-law  Drina  of  the  same 
name;  Selina  Fetter,  in  private  life,  Mrs.  Milton 
Royle ;  Maggie  Fielding ;  and  Ida  Greeley  Smith. 
The  men  besides  Lionel  Barrymore  and  Frank 
Worthing ;  were  Richard  Bennett ;  Joseph  Wheelock 
Jr. ;  Ralph  Delmore ;  and  Joseph  Whiting. 

An  incident  of  the  first  night  is  instructive.  In 
the  construction  of  the  current  part  of  the  play,  I 
had  found  the  minister's  laugh  valuable  as  a  curtain 
climax  for  the  second  act.  His  propensity  for  laugh 
ing  in  wrong  places  had  been  elaborated,  "  planted  ", 
and  an  audience  logically  should  be  glad  to  see 
some  instance  of  it.  I  chose  the  pressure  put  upon 
the  finer  girl  in  a  circle  of  misapprehension  and 
hostile  criticism  resulting  from  her  sacrificial  as 
sumption  of  Catherine's  place  in  the  motor;  a  circle 
of  much  snobbishness  and  some  hypocrisy  through 
which  only  the  Kid  and  the  minister  saw. 

The  accused  girl  was  to  one  side  of  the  library  in 
which  that  act  was  laid,  and  her  critics  and  accuser 
were  baiting  her.  The  minister  was  at  the  other  side 
at  the  moment  chosen  for  his  laugh  and  the  "  cur 
tain  ".  On  our  first  night  all  went  well  excepting 
this  moment.  The  effect  failed  to  function.  In  the 
usual  council  of  war  held  by  manager  and  author 


PREFACE  ii 

after  the  first  representation,  we  were  unable  to  find 
the  cause  for  this  failure.  By  all  our  logic  and 
technique  the  situation  should  have  carried.  We 
thought  perhaps  our  first  nighters  were  too  sophisti 
cated,  and  had  foreseen  and  discounted  our  effect ; 
but  a  second  night's  audience  was  equally  im 
pervious. 

I  sailed  on  Wednesday,  happy  over  general  results 
but  troubled  on  that  one  point ;  and  on  the  quiet  deck 
of  the  steamer,  for  two  days  I  went  over  and  over  it 
mentally.  In  this  review  I  saw  again  the  aggressive 
group  around  the  girl ;  the  audience  deeply  inter 
ested  there;  and  then  from  the  other  side  of  the 
stage  picture  the  explosive  laugh  of  the  minister, 
more  surprising  than  mirth-provoking ;  and  I  finally 
reasoned  that  the  trouble  lay  in  the  surprise.  I  be 
came  sure  that  if  some  action  should  first  draw  at 
tention  from  the  girl  to  the  minister,  the  attempted 
effect  would  work.  This  point  had  not  been  entirely 
overlooked  in  rehearsals,  for  the  Kid  set  the  minister 
off  on  his  laugh  by  a  very  knowing  wink  as  the  snobs 
on  the  other  side  were  delivering  their  heaviest  bat 
teries.  But  a  wink  is  a  small  demonstration  to 
counterpoint  a  family  row.  Some  broader  action 
would  be  needed  to  command  the  attention  of  the 
whole  audience.  With  this  decision  I  went  to  the 
wireless  room  and  telegraphed  Mr.  Frohman: 
"  Have  Kid  step  down  and  toucJi  preacher  before 
the  wink  ".  The  instruction  was  followed  and  the 
effect  was  obtained  as  first  hoped  for. 

In  the  theatre  coincidence  is  so  useful  and  is  so 
constantly  resented  by  callow  critics,  that  any  ex 
ample  that  may  establish  its  legitimacy  is  valuable. 
I  therefore  append  this  incident :  A  few  weeks  after 
our  opening,  my  brother-in-law  Bainbridge  Colby 
was  smoking  his  after-dinner  cigar  in  our  Paris 
apartment  after  a  business  trip  to  London.  "  An 


12 


PREFACE 


amusing  thing  happened  "  he  said  "  as  I  was  coming 
over  from  America.  I  had  gone  to  the  wireless 
room  on  the  steamer  to  send  a  message ;  the  operator 
was  Italian  and  uncertain  of  his  English;  a  boat 
further  out  had  just  sent  him  a  message  to  relay 
to  New  York.  It  was  addressed  to  Charles  Froh- 
man  and  signed  Thomas.  The  operator  thought  he 
had  muffed  it  because  it  read  "  Have  Kid  step  down 
and  touch  preacher  before  the  wink  ".  I  told  him 
the  message  was  correct ". 

Augustus  Thomas. 


THE  OTHER  GIRL 

CHARACTERS 
IX  THE  ORDER  OF  APPEARANCE 

MR.  FULTON 

HENRY  WATERMAN 

MRS.  WATERMAN 

DR.  CLIFTON  BRADFORD  (The  Parson) 

CATHERINE  FULTON 

JAMES    (Butler) 

ESTELLE  KlTTERIDGE 

REGINALD  LUMLEY 

ANN     (The  Cook) 

JUDGE  NEWTON  BATES 

TAYLOR     (Reporter) 

"  KID  GARVEY  "  SHELDON  (The  pug) 

MAGGIE     (The  Maid) 

MYRTLE  MORRISON 


13 


THE  OTHER  GIRL 


ACT  I 

SCENE  :  The  stage  is  set  to  represent  a  deck  built  at 
the  rear  of  a  city  house  as  an  extension  to  its 
first  floor.  At  the  back,  covering  one-half  the 
flat  (the  right  half)  is  the  dead  wall  of  the  next 
house.  Vines,  grow  on  this  wall.  The  left  half 
at  back  is  a  high  brick  garden  wall  over  which 
appear  the  ends  and  intervening  light  shafts 
of  tall  apartment  houses. 

To  the  stage  R.  is  the  rear  of  the  dwelling 
to  which  the  deck  is  an  addition.  On  the  stage 
level  two  French  windows  let  into  the  dining- 
room  and  one  American  window  in  3  looking 
into  pantry.  On  the  floor  above,  the  octagonal 
bay  of  the  library  protrudes  some  feet  over  the 
stage.  This  bay  is  surmounted  by  a  pretty 
balcony  which  lets  into  the  sleeping  apartment 
on  the  4th  floor. 

To  the  stage  left,  from  the  foot  lights  to  the 
flat,  an  iron  rail  covered  with  foliage  guards  the 
deck  from  the  back-yard  supposed  to  be  below 
except  at  the  up-stage  end,  the  railing  has  a 
gate  now  open  and  giving  upon  a  short  flight 
of  stairs  to  the  garden  level  below.  Tree  wings 
are  also  L.  and  over  the  iron  railings. 

The  stage,  representing  a  deck,  is  apparently 
slatted  to  let  water  through.  (The  lines  indicat 
ing  opening  should  be  draii.ni  on  the  ground 


16  THE  OTHER  GIRL 

cloth  'lip  and  down-stage  in  order  to  show.) 
The  center  has  a  handsome  rug  on  which  is  a 
round  dining  table  sir  feet  in  diameter.  A  huge 
Japanese  umbrella  8  feet  in  diameter  is  fixed  on 
the  middle  of  the  table-top  by  a  weighted  foot, 
or  standard.  The  table  has  on  it  the  coffee 
cups,  a  champagne  bottle,  cigar  lighter,  cigars 
and  cigar  etes.  A  champagne  cooler  is  to  the 
left  of  the  table  and  above  the  chair  at  that 
place.  Six  chairs  arc  at  the  table. 

TIME:  The  hour  is  eight  of  a  June  evening. 
The  sun  has  set  to  the  stage  R.  Its  last  rays 
still  light  the  chimneys  of  the  tall  houses  to  the* 
rear.  Later  the  moonlight  falls  from  the  lefi 
— Lights  show  in  the  various  windows  in  sight. 

DISCOVERED :  HARRY  WATERMAN,  a  New  York 
business  man  of  the  "  bluff  and  hearty  "  type, 
aged  about  forty-five.  He  sits  to  the  left  of  the 
table.  His  guest,  MR.  FULTON,  a  Philadelphia 
millionaire,  aged  sixty-two,  stands  looking  over 
the  railing  left.  Both  men  have  cigars  half 
smoked — Both  are  in  evening  dress. 

FULTON.  (Turning  and  regarding  stage)  Of 
course  that  shuts  off  the  light  a  little  from  your 
kitchen. 

HENRY  WATERMAN.  (Easily)  Some.  But  you 
see  those  joints  are  open — (He  indicates  floor)  and 
besides — (Smiling)  It  isn't  a  good  plan  to  turn 
too  much  light  on  that  particular  department. 

FULTON.  (Also  smiling)  True.  (Fixes  his 
glasses  and  looking  left  into  yard)  You — Why  you 
haven't  had  any  oppressively  hot  weather  in  New 
York  this  spring  have  you? 

HENRY.     No — why  ? 

FULTON.       Those     mattresses — Thought     some- 


THE  OTHER  GIRL  17 

body'd  been  sleeping  out  of  doors.  (Suddenly) 
See'  here,  the  girls  and  I  are  not  crowding  you  ? 

HENRY.  (Heartily)  No  indeed — your  rooms 
are  guest-rooms  always.  No !  Those  two  mat 
tresses  belong  to  the  Reverend  Cliff. 

FULTON.     (Rises)     Who? 

HENRY.     The  "  Reverend  Cliff  ". 

FULTON.     Oh.     Dr.  Bradford? 

HENRY.     Yes,  he  wrestles  on  them. 

FULTON.    Wrestles? 

HENRY.  (Nods)  Training  for  his  constant 
clerical  struggle  with  temptation. 

FULTON.     But  really? 

HENRY.     Oh.    A  matter  of  health. 

FULTON.  Dr.  Bradford  actually  practices  wrest 
ling? 

HENRY.  (Nodding  yes)  And  now  and  then  the 
chap  that's  training  him  gives  Cliff  a  push  with  the 
gloves  that  makes  him  real  glad  those  mattresses 
are  there. 

FULTON.     Boxes  too? 

HENRY.  Yes,  indeed.  If  you  ever  go  to  the 
Reverend  Doctor  Bradford's  church  and  they  pass 
you  the  contribution  box,  you  want  to  settle. 
(Smiles) 

FULTON.  (Smiling)  Oh!  That's  what  the 
Times  meant  by  its  allusions  to  muscular  Christ 
ianity. 

HENRY.  (Joining  FULTON  at  rail)  In  a  measure. 
You  see  Cliff's  always  gone  in  for  athletics.  This — 
this  backyard  business  was  my  idea.  Once  or  twice 
when  I've  had  a  busy  winter,  too  many  dinners — 
too  much  of  this.  (Touching  bottle)  I've  gone  up 
to  Muldoon's  and  got  down  to  my  proper  weight 
again. 

FULTON.    Muldoon's  ? 

HENRY.  Billy  Muldoon — don't  know  him?  Cer 
tainly  you  do.  Held  the  world's  championship  for 


ig  THE  OTHER  GIRL 

wrestling — years  and  years — ( FULTON  nods)  Re 
tired  unbeaten  and  opened  a  sanitarium  up  here  in 
Westchester  County.  Well,  when  Cliff  got  all  run 
down  this  winter — nerves  and  everything — you  read 
about  it — laughed  right  out  at  a  funeral  where  he 
was  the  officiating  clergyman 

FULTON.    No ! 

HENRY.  Yes — But  then  that's  Cliff's  weak  point. 
If  it  wasn't  for  his  sense  of  humor  Cliff 'd  be  the 
banner  clergyman  of  New  York.  Yes,  sir — Well, 
as  I  tell  you  he  "  went  back  "  so  much 

FULTON.     "Went  back?" 

HENRY.    Physically. 

FULTON.    Yes,  yes. 

HENRY.  That  I  advised  him  to  go  to  Bill  Mul- 
doon's.  He  did  look  it  over  but  Billy  said  he'd  bet 
ter  not.  Nice  fellow  Muldoon — gentleman's  in 
stinctive  feeling  for  the  fitness  of  things — He  didn't 
tell  Cliff  but  he  told  me,  you  see,  that  a  house  full 
of  race  track  chaps — and  Wall  Street  men — and  so 
on — Oh,  he  gets  the  best — He  instinctively  saw 
they'd  rub  Cliff's  fur  the  wrong  way;  so  he  sent  a 
private  instructor  down  here. 

FULTON.    A  masseur,  I  suppose. 

HENRY.  Ha,  ha.  Well,  hardly — No,  sir,  a  pro 
fessional  instructor — wrestling,  boxing,  anything. 
You  know  Cliff  was  quite  a  boy  at  College.  Got  a 
hatful  of  medals  for  it. 

FULTON.    Indeed  ? 

HENRY.  (Nodding)  Runs  in  the  family. 
Mattie's  just  like  him — hard  as  a  base  ball. 

FULTON.     Mattie  ? 

HENRY.    Mrs.  Waterman — his  sister. 

FULTLN.    Oh,  your  wife  ? 

HENRY.  Yes — Golf — swim — take  a  five  bar  gate 
on  her  hunter !  See  her  in  the  box  at  the  opera  you'd 
simply  say  "  trim,  well  groomed  woman  ",  but 


THE  OTHER  GIRL  19 

(Closing  f.st)  got  an  arm  like  a  stocking  full  of 
ereen  apples — (Smoking) 

FULTON.  (Regarding  the  back  yard)  And  Dr. 
Bradford  takes  his  exercise  there? 

HENRY.     Two  half  hours  every  day. 

FULTOX.     (Looking  about)     And  the  neighbors? 

HENRY.  Can't  see  him — Some  Japanese  screens 
there — Pull  over — make  an  awning  ;  notice  ? 

FULTOX.  I  see ;  and  the  newspaper  people  object 
to  that,  do  they? 

HENRY.  Only  the  Times.  It  was  one  of  their 
proprietors  that  Cliff  was  burying  at  the  funeral. 
Cliff  was  saying  all.  the  nice  things  he  could  about 
him 


FULTON.    Naturally- 


HENRY.  — man  was  dead — and  anyway  Cliff's  an 
awfully  liberal  minded  clergyman — so — he  was  being 
decent,  you  understand  when  he  happened  to  catch 
the  eye  of  one  of  the  reporters  that  had  been  sent 
up  to  "  do  "  the  funeral — IV ell;  the  young  fellow 
half  smiled  and  kind  o'  shut  one  eye  that  way — 
(Winks;  and  then  with  explosive  vigor  dramatizing 
the  clergyman's  predicament  he  throws  up  both 
hands)  Well,  think  of  it — and  Cliff's  sense  of 
humor!  He  made  a  struggle  of  course  and  he'd 
have  pulled  through  if  this  little  reporter'd  only 
gone  out — but  there  he  was  with  a  half  strangled 
grin,  getting  more  infectious  every  minute — Well!! 
Dr.  Bradford  covered  his  face  with  his  handkerchief 
and  tried  to  pass  the  business  off  for  tears,  but  dear 
me — you  read  about  it;  the  assistant  had  to  finish 
and  Cliff  pretended  to  be  ill  and  all  that ;  but 
naturally  the  Times  never  forgave  him  for  it.  We 
stood  their  criticisms  of  that  affair  but  when  they 
began  assailing  Cliff's  private  character  why,  we  sued 
them  for  libel.  (Smokes) 

FULTOX.  His  private  character?  /  didn't  see 
that. 


20  THE  OTHER  GIRL 

HENRY.  Didn't  your  daughter  zvrite  you  about 
it? 

FULTON.    No. 

HENRY.    Happened  since  she's  been  here. 

FULTON.  (Anxiously)  It's  nothing  about  Cath 
erine  herself? 

HENRY.    Oh,  dear  no. 

FULTON.    You're  quite  sure. 

HENRY.    Perfectly. 

FULTON.    Any  woman  involved? 

HENRY.  Oh,  not  that  way— Well  here— I'll  read 
it  to  you.  (Calls  to  library)  Mattie — James — Oh, 
that  you,  Mattie? 

MRS.  WATERMAN.     (In  library)     Yes,  it's  I. 

HENRY.  Won't  you  hand  me  the  scrap  book  from 
the  big  table  there  with  Cliff's  notice  in  it. 

FULTON.  Is  Mrs.  Waterman  not  sensitive  about 
it? 

HENRY.    Not  a  bit. 

MRS.  WATERMAN.  (Appearing  in  window,  2nd 
story)  Here  you  are.  (Handing  book)  Is  there 
anybody  that  hasn't  read  that  interesting  publica 
tion? 

HENRY.  Mr.  Fulton  hasn't.  Tell  Cliff  to  come 
down  here,  my  dear. 

(MRS.  WATERMAN  disappears.) 

FULTON.    I'm  not  detaining  you  ? 

HENRY.  Oh,  no.  (With  book)  Here  we  are — 
Under  religious  notes  mind  you.  (Reads)  "  The 
Reverend  Clifton  Bradford  is  taking  a  more 
muscular  and,  if  possible,  a  more  humorous  view  of 
life  during  these  days,  than  even  that  which  he 
formerly  enjoyed.  He  had  as  companions  to  a  suffi 
ciently  jolly  little  dinner  last  week,  Kid  Garvey,  the 
champion  middle  weight  prize-fighter  and  Miss 
Myrtle  Morrison,  the  leading  serio  comic  and  short 


THE  OTHER  GIRL  21 

skirt  dancer  from  the  Pleasure  Palace " — Whole 
cloth,  mind  you — whole  cloth. 

FULTON.  'But  how  dare  they?  Here  comes  Dr. 
Bradford  himself.  (Tries  to  hide  book) 

HENRY.    Oh,  Cliff  doesn't  care. 

(Enter  BRADFORD  from  the  house.) 

BRADFORD.  (Referring  to  book)  Sufficiently 
piquant,  eh? 

FULTON.     But  why? 

BRADFORD.     Oh — an  old  enmity. 

HENRY.    I've  told  him  about  that. 

BRADFORD.  We've  ignored  the  preceding  publica 
tion. 

HENRY.     Nothing  like  that  however. 

BRADFORD.    Oh,  no. 

HENRY.  (To  FULTON)  And  it's  always  been  a 
question  before  as  to  whether  the  stuff  was  libellous 
or  not.  You  see  they  gave  a  humorous  slant  to 
everything. 

FULTON.    Oh.  I  know  them. 

HENRY.  (Closing  the  book)  And  that's  such  an 
easy  thing  to  do  if  you've  got  a  clergyman  for  your 
target. 

FULTON.    Yes,  yes. 

HENRY.    Our  lawyer's  Newton  Bates. 

FULTON.     (In  admiration)     Newton  Bates? 

HENRY.    Won't  he  make  'em  squirm? 

FULTON.     Ah. 

HENRY.  You  know  they  wanted  him  on  the 
Beecher  trial  only  the  other  counsel  thought  him  too 
young  at  that  time. 

BRADFORD.     Member  of  my  congregation. 

FULTON.     (In  appreciation)     'm. 

BRADFORD.  (To  HENRY)  Judge  Bates  says  that's 
actionable?  (Indicates  book] 

HENRY.     Unquestionably. 

FULTON.     No  ground  for  it  at  all  ? 


22  THE  OTHER  GIRL 

BRADFORD.  (At  rail)  None — except  that  I'm 
doing  a  little  gymnastic  work  here — my  sister's 
private  residence. 

FULTON.  And  your  instructor's  not  a  prize 
fighter  ? 

BRADFORD  and  HENRY.     (Both  exclaim)  Oh! 

BRADFORD.  (Shaking  his  head)  A  mere  boy — 
named  Sheldon — charming  manners — not  an  edu 
cated  man  to  be  sure — that  is,  not  a  college  man, 
but— 

FULTON.    To  be  sure 

HENRY.  (Emphatically)  But  he  knows  his  busi 
ness. 

BRADFORD.     (With  laugh)     Ha! 

HENRY.  (With  more  enthusiasm  to  FULTON) 
Why,  I  thought  Dr.  Bradford  was  falling  down  as  a 
joke — This  Sheldon — mere  boy  you  understand — 
doesn't  seem  to  hit  him  any  harder  than  that — 
(Taps  FULTON'S  arm)  Looks  like  a  kitten  playing 
with  the  darning  cotton. 

BRADFORD.    Feels  different  however. 

HENRY.  Cliff  had  him  tap  me  just  for  fun,  on 
the  shoulder — now  I'm  not  an  invalid,  am  I  ? 

FULTON.     (Smiling)     I  shouldn't  call  you  one. 

HENRY.  Well,  he  did  that — (Business  of  light 
tap)  Mattie  and  the  girls  were  up  at  the  window — 
she  thought  he  was  brushing  a  speck  of  dust  off  my 
waistcoat.  I  stumbled  clear  across  that  furthest 
mattress;  and  if  that  back  fence  hadn't  been  there, 
I'd  have  gone  through  to  Madison  avenue — Mattie 
thought  I  was  "  being  funny  "  for  the  girls,  but  that 
night  I  showed  her  a  green  and  blue  patch  there 
about  the  size  of  an  alarm  clock. 

FULTON.     Man  must  be  a  Hercules. 

BRADFORD.     Quite  the  contrary. 

HENRY.     Doesn't  strip  noticeably  big. 

(Enter  CATHERINE  from  house.) 


THE  OTHER  GIRL  23 

CATHERINE.    You  ready,  father? 

FULTON.     Is  it  time? 

CATHERINE.    Almost. 

FULTON.    I  shall  be — excuse  me.    (Exit  to  house} 

(Telephone  bell  off.) 

BRADFORD.  Beautiful  evening  for  your  concert- 
party,  Miss  Catherine. 

CATHERINE.    Oh,  it  isn't  my  party. 

BRADFORD.     No? 

CATHERINE.  (Shaking  her  head)  It's  Mr. 
Lumley's.  (She  puts  on  gloves) 

HENRY.  You  must  see  the  difference  Doctor — 
Lumley's  party,  not  Catherine's. 

BRADFORD.  One  of  the  weaknesses  of  my  profes 
sion  always  has  been  its  impulse  to  prophecy. 

CATHERINE.  (Stupidly)  What's  he  talking 
about,  Mr.  Waterman? 

HENRY.  About  you  and  Lumley.  These  minister 
fellows,  Catherine,  watch  the  society  columns  like 
your  father  and  I  watch  the  markets.  Their  in 
comes  depend  on  social  futures. 

CATHERINE.  Oh,  I  don't  know  anything  about 
business. 

HENRY.  Well,  you  won't  have  to  if  you  marry 
Lumley. 

CATHERINE.  It  isn't  at  all  certain  that  I  shall 
marry  Mr.  Lumley. 

HENRY.     Isn't  it? 

CATHERINE.     Xo — I  may  not  marry  anybody. 

(Enter  JAMES,  a  butler.) 

JAMES.  Pardon,  sir.     There's  a  call  at  the  tele 
phone. 

HENRY.  Me? 

JAMES.  (Clearing  table)     Yes,  sir. 


24  THE  OTHER  GIRL 

HENRY.    Excuse  me.     {Exit  to  house) 
BRADFORD.    I  was  going  to  ask  you  to  excuse  me 
from  the  concert  this  evening  Miss  Catherine  but  if 
the  party's  entirely  Mr.  Lumley's  I'll  ask  him. 

{Exit  JAMES  with  coffee  cups  and  napkins.) 

CATHERINE.    Can't  you  go? 

BRADFORD.  I  have  some  writing  that  I  shouldn't 
neglect  any  longer  and  besides  that,  Mr.  Sheldon's 
coming  to  get  his  things  this  evening. 

CATHERINE.  (Interested  and  surprised)  Mr. 
Sheldon? 

BRADFORD.    Yes. 

CATHERINE.    His  things?    Why? 

BRADFORD.  He's  through  with  me  for  the  pres 
ent — I've  graduated. 

CATHERINE.  And  he's  not  coming  any  more — at 
all. 

(Enter  JAMES.) 

BRADFORD.    No — (At  steps)    James! 

JAMES.     (Going  to  BRADFORD)     Yes,  sir. 

BRADFORD.  Mr.  Sheldon's  coming  to  take  the 
gloves  and  shoes  and  some  other  things  that  belong 
to  him.  I'll  show  you  which  ones  they  are  and  you 
can  help  him  do  them  up. 

JAMES.     (Sulkily)    Yes,  sir. 

BRADFORD.  (To  CATERINE)  You'll  excuse  me  a 
moment. 

CATHERINE.    Certainly. 

BRADFORD.  (Going  down  steps)  And  to-morrow 
these  mattresses  can  be  put  in  the  trunk  room. 

JAMES.     (Following,  with  disapproval)     Yes,  sir. 

CATHERINE.  (Alone)  He's  not  coming  any  more 
at  all. 

ESTELLE.  (From  third  story  balcony)  Shall  we 
need  opera  glasses,  Catherine — what  do  you  think? 


THE  OTHER  GIRL  25 

CATHERINE.     I'm  not  going. 
ESTELLE.    Not  going — why  ? 
CATERIXE.     I've  changed  my  mind. 
ESTELLE.     Why  ? 

CATHERINE.  (Quick  glance  to  garden)  I'll  tell 
you  later. 

(Enter  MRS.  MATTIE  WATERMAN  from  house.    She 
is  the  athletic  Nezv  York  woman  of  thirty-three.) 

MRS.  WATERMAN.    Oh.    All  alone,  Catherine? 

CATHERINE.     Dr.  Bradford  has  just  left  me. 

MRS.  WATERMAN.  My!  what  a  pretty  gown  my 
dear. 

CATHERINE.    You  like  it? 

MRS.  WATERMAN.  Who  wouldn't  like  it?  Now 
don't  tell  me  that  was  made  in  Philadelphia,  too. 

CATHERINE.    Yes,  it  was. 

MRS.  WATERMAN.  Well,  you  certainly  have  found 
a  treasure  in  that  woman. 

ESTELLE.     Do  you  think  so,  Mrs.  Waterman? 

MRS.  WATERMAN.  (Looking  tip  to  balcony) 
Oh,  you  there — Estelle  ?  Why  of  course  I  think  so. 
I  never  saw  anything  like  it.  I've  two  gowns  that  I 
brought  from  Paris  that  I'd  give  her  for  it  this 
minute  if  it  would  fit  me.  You  must  carry  a  long 
wrap  with  that,  my  dear.  Yrou  know  the  concert's 
on  the  roof  and  the  chairs  are  bound  to  have  some 
dust  on  them — soot  or  something. 

CATHERINE.  You  might  bring  my  gray  cloak, 
Estelle. 

ESTELLE.    You'll  go,  then?    Good.     (Exit) 

MRS.  WATERMAN.  What  does  she  mean,  Cath 
erine?  Did  you  think  of  not  going? 

CATHERINE.    I'm  not  sure  that  I  shall. 

MRS.  WATERMAN.    You're  not  ill,  Catherine  dear. 

CATHERINE.  Oh,  half — no,  it  isn't  that — but  I 
just  can't  go  to-night. 


26  THE  OTHER  GIRL 

MRS.  WATERMAN.  (Anxiously)  My  dear! 
What  is  it?  (CATHERINE  shakes  her  head)  You 
must  tell  me,  my  dear. 

CATHERINE.  Since  my  engagement's  been  pub 
lished,  I've  felt  half  dazed  all  the  time. 

MRS.  WATERMAN.  (Comfortingly)  And  quite 
excusably,  my  dear  Catherine;  Reggy  Lumley's  the 
catch  of  the  season. 

CATHERINE.  But,  I  want  to  think  about  it.  I 
don't  want  to  be  rushed,  in  this  way. 

MRS.  WATERMAN.  Rushed — Why  there's  no  day 
set  is  there? 

CATHERINE.  No — but — the  man  himself — Why 
don't  you  tell  me  what  to  do? 

MRS.  WATERMAN.  Why,  I  will,  of  course.  What 
is  it? 

CATHERINE.  If  I  really  loved  him,  I'd  want  to 
see  him  this  evening,  wouldn't  I  ?  and  I  don't. 

MRS.  WATERMAN.    You  don't? 

CATHERINE.  No — I  don't.  My  hands  are  so 
cold  at  the  thought,  that  my  gloves  don't  fit  me. 

MRS.  WATERMAN.  Why,  you  strange  creature — 
and  when  you  were  here  in  October,  you  could 
scarcely  wait  until  the  evening  for  him  to  call. 

CATHERINE.  I  know  it  and  I  liked  him  in  Phil 
adelphia  too. 

MRS.  WATERMAN.  Well,  of  course,  that  doesn't 
mean  so  much — and  now? 

CATHERINE.  (Explaining  and  extending  her  limp 
arms)  This  way. 

MRS.  WATERMAN.  And  you  think  it's  the  an 
nouncement  that  has  caused  the  change  in  you,  my 
dear? 

CATHERINE.    Oh,  no,  it's  more  than  that. 

MRS.  WATERMAN,  (with  match-making  eager 
ness)  Catherine ! — you've  met  some  one  else — 
(CATHERINE  turns  away)  My  dear  Catherine! 
(Puts  arm  about  her)  Tell  me.  (CATHERINE 


THE  OTHER  GIRL  27 

shakes  her  Jiead)  But,  my  dear,  you  haven't  seen 
anybody  else.  Besides  poor  Lumley  you  haven't 
seen  anybody  but  in  this  house.  (CATHERINE  covers 
her  face)  Catherine!  It  can't  be  that 

CATHERINE.     (Impulsively)     Oh,  don't  ask  me — 

MRS.  WATERMAN.  I  won't — I  won't — not  a 
word,  my  dear.  (Pause)  Does  Estelle  know? 
(Looks  up  at  balcony — CATHERINE  nods)  What 
does  she  say?  (CATHERINE  shakes  her  head) 
Doesn't  approve,  eh?  (CATHERINE  shakes  her 
head)  'm — Well,  my  dear,  your  aunt  Mattie 

CATHERINE.    Please  don't  ask  me? 

MRS.  WATERMAN.  Not  a  word.  dear,  not  a  word. 
(Pause)  He's  nice  of  course.  (CATHERINE  nods) 
Money?  (CATHERINE  shakes  her  head)  Business 
man?  (CATHERINE  shakes  her  head)  Profes 
sional?  (CATHERINE  nods.  MRS.  WATERMAN  em 
braces  her  protecting!  y)  Well,  if  you  love  him, 
my  dear,  a  professional  man  makes  a  very  good  hus 
band — that  is  if — (Pause)  He's  not  a  lawyer? 
(CATHERINE  shakes  her  head)  Not  a  physician? 
(CATHERINE  shakes  her  head)  Not  a 

CATHERINE.     Oh,  please  don't  ask  me. 

MRS.  WATERMAN.  Not  a  word,  my  dear — not  a 
word.  There — there — (Pause)  Well,  if  he  hasn't 
money  I  hope  he  has  youth  and  health.  (CATHERINE 
nods)  He's  a  good  physical  specimen?  (CATH 
ERINE  nods)  Good!  Good — (Pause)  But,  dear 
me,  it's  going  to  be  a  trifle  hard  on  Reggie  Lumley, 
— though  Reggie  really  deserves  it. 

CATHERINE.  Oh.  Mrs.  Waterman — what  shall  I 
do? 

MRS.  WATERMAN.  You're  quite  sure  vou  love 
him? 

CATHERINE.     Yes. 

MRS.  WATERMAN.    Has  he  proposed  to  you? 

CATHERINE.     Oh,  no. 

MRS.  WATERMAN.    Of  course  he  hasn't — (Pause) 


28  THE  OTHER  GIRL 

Do  ?  Well,  the  first  thing  to  do  my  dear,  is  to  make 
him  propose. 

CATHERINE.  But  my  father  won't  like  it  at  all — 
he  won't  like  the  man's  profession,  and  he  won't  like 
his  being  poor. 

MRS.  WATERMAN.  (With  some  hauteur}  'm. 
The  gentleman's  profession  supports  him,  doesn't  it? 

CATHERINE.    Oh,  yes. 

MRS.  WATERMAN.    And  it  improves  others? 

CATHERINE.    Oh,  yes. 

MRS.  WATERMAN.  Well,  let  me  tell  you,  my 
dear,  that  this  getting  married  is  a  very  personal 
thing ;  and  if  you  love  the  man  and  you  don't  love 
Reggie  Lumley  at  all 

CATHERINE.  But  I'm  not  sure  of  that.  I  think 
I  love  Mr.  Lumley  too — Do  you  think  a  girl  can 
love  two  men,  Mrs.  Waterman? 

MRS.  WATERMAN.  (A  trifle  behind  the  times) 
Well,  my  dear.  (Pauses)  Hardly  in  the  same  way. 

CATHERINE.  Not  in  the  same  way  at  all.  I'm 
proud  of  Mr.  Lumley,  and  I  feel  so — so  safe  and 
protected  and  respectable  when  he's  with  me.  But 
the  other  one  makes  me  almost  forget  Mr.  Lumley. 
I'm  not  myself,  I  feel  like  running  away  from  people 
and  hiding  myself.  I  feel  as  though  someone  should 
scold  me  very  hard  for  something  I  haven't  done  at 
all.  I  feel  rebellious  and  lawless  and  not  like  my 
self.  Why  sometimes  I  almost  want  to  strike 
Estelle. 

MRS.  WATERMAN.  Strike  Estelle.  You  mean 
when  she  opposes  you  in  this  new  affection? 

CATHERINE.    Yes. 

(Enter  BRADFORD.) 

BRADFORD.     I've  asked  Miss  Catherine  to  excuse 
me  to-night.    I  shall  have  to  miss  the  concert  and — 
CATHERINE.    I'm  not  going  either. 


THE  OTHER  GIRL  29 

(MRS.  WATERMAN  pleased.) 

BRADFORD.    Oh,  you're  not  going? 

MRS.  WATERMAN.  (With  meaning)  No,  Cath 
erine  isn't  feeling  quite  herself  to-night  and  we've 
decided  between  us  that  the  concert  would  bore  her. 

BRADFORD.     Oh 

CATHERINE.  Do  you  mind,  Mrs.  Waterman,  if  I 
pick  one  of  those  roses?  (In  garden  L.) 

MRS.  WATERMAN.  Take  as  many  as  you  like,  my 
dear. 

CATHERINE.  Thank  you.  (Goes  doivn  steps  L. 
MRS.  WATERMAN  nods  to  BRADFORD  to  look  at 
CATHERINE,  he  does  so  and  looks  back  inquiringly) 

MRS.  WATERMAN.     Pretty? 

BRADFORD.     Very. 

MRS.  WATERMAN.  She's  about  as  stylish  a  girl 
as  we  know.  Cliff,  dear. 

BRADFORD.     Yes,  I  think  she  is. 

MRS.  WATERMAN.  Everything  looks  well  on  her. 
There's  an  old  fright  of  a  gown  done  in  Philadeiphia 
and  she  makes  it  look  as  if  it  had  been  made  in 
Paris. 

BRADFORD.  A  very  misleading  young  woman,  al 
together. 

MRS.  WATERMAN.  Misleading?  (BRADFORD 
nods)  What  do  you  mean  by  that? 

BRADFORD.  She  looks  wise  enough  to  give  Greek 
lessons  to  Minerva  and  she  hasn't  the  brains  of  a 
wax  doll. 

MRS.  WATERMAN.     Why,  Cliff,  you're  mistaken. 

BRADFORD.     (Amused)   'Am  I,  Mattie? 

MRS.  WATERMAN.  You're  very  much  mistaken. 
I've  seen  a  pincushion  that  she  painted  just  as  hand 
some  as  anything  in  the  shops. 

BRADFORD'.     Really? 

MRS.  WATERMAN.  And  I'm  sure  she  plays  ver\ 
well  and  while  she  doesn't  talk  glibly  at  all,'  all  the 


30  THE  OTHER  GIRL 

men,  every  one  of  them,  are  crazy  about  her,  I'm 
sure,  just  crazy. 

BRADFORD.  She  seems  fairly  popular  when  her 
friend  Miss  Kitteridge  is  with  her. 

MRS.  WATERMAN.  They  make  a  very  good  con 
trast. 

BRADFORD.     Very. 

MRS.  WATERMAN.  Estelle — (Looks  cautiously  at 
zvindozv)  Estelle' s  as  plain  as  a  mud  fence  and 
Catherine's  a  howling  beauty. 

BRADFORD.    Yes? 

MRS.  WATERMAN.  (Getting  annoyed)  Yes,  and 
you're  very  much  mistaken,  Cliff  dear,  if  you  think 
the  men  are  attracted  by  Estelle — they  come  to  see 
Catherine. 

BRADFORD.  They  come  to  look  at  Miss  Fulton,  I 
dare  say,  but  they  remain  to  talk  with  Miss  Kit 
teridge. 

MRS.  WATERMAN.  Oh,  you  over-estimate  the 
value  of  talk — all  ministers  do. 

BRADFORD.     So  I  begin  to  fear. 

MRS.  WATERMAN.  A  man  doesn't  marry  a  woman 
because  she  can  talk.  Men  frequently  quit  them  for 
it.  No  indeed — a  man  wants  a  wife  that's  stylish 
and  looks  well — one  who — as  Henry  would  say — 
who  "  can  make  a  front  ".  I'm  sorry  to  see  you  so 
interested  in  the  Kitteridge  girl,  Cliff.  She's  only  a 
companion,  you  know.  It  wouldn't  surprise  me  if 
she  got  a  salary. 

BRADFORD.  My  profession,  Mattie,  has  no  deep- 
seated  prejudice  against  salary. 

MRS.  WATERMAN.  So  I've  observed ;  but  her 
salary  would  stop  if  she  got  married  and  her  ability 
to  talk  might  even  increase. 

BRADFORD.  It  would  naturally  grow  with  her  in 
formation. 

MRS.  WATERMAN.  So  would  Catherine's  and  it 
might  turn  out  that  even  Catherine'd  talk  all  you 


THE  OTHER  GIRL  31 

wanted  her  to.  There's  a  depth  of  feeling  in  the 
girl  that  none  of  us  has  dreamed  of — and  she's  cer 
tainly  very  bright  at  times. 

BRADFORD.      Indeed — I've    failed   to   notice   that. 

MRS.  WATERMAN.  There  are  many  things,  my 
dear  brother,  that  you  fail  to  notice. 

BRADFORD.    True. 

MRS.  WATERMAN.  For  one  thing  you  fail  to 
notice  that  the  poor  girl's  dead  in  love  with  you. 

BRADFORD.      (Astonished  and  annoyed)     What? 

MRS.  WATERMAN.  Sh — yes,  you — I  mean  it. 
You've  driven  her  almost  frantic  with  it. 

BRADFORD.     Miss  Fulton? 

MRS.  WATERMAN.    Yes. 

BRADFORD.  Ridiculous,  why  she's  engaged  to 
marr\  Reginald  Lumley. 

MRS.  WATERMAN.     That's  a  mere  bit  of  finesse. 

BRADFORD.     A  bit  of  what? 

MRS.  WATERMAN.  Finesse — she's  trying  to  pique 
you  into  saying  something  yourself. 

BRADFORD.  (Warningly)  Now  see  here,  Mattie 
— I  said  the  poor  girl  didn't  know  anything,  but 
don't  tell  me  she's  immoral. 

MRS.  WATERMAN.  Cliff  dear — you  ministers 
would  do  twice  as  much  good  in  this  world  if  you 
didn't  call  things  such  dreadful  names.  Immoral 
is  a  word  we  apply  to  a  lady  after  the  court  decides 
that  she  deserves  it  and  gives  the  divorce  to  the 
husband.  A  simple  engagement — in  fact  the  very 
first  engagement;  and  as  pretty  a  girl  as  Catherine 
is  mere  vivacity.  Now  I  won't  talk  to  you,  Cliff — 
7  won't. 

BRADFORD.  I  shouldn't  Mattie,  if  I  were  you.  It 
strikes  me  the  burden  of  responsibility  is  in  the 
other  direction. 

MRS.  WATERMAN.  Never  mind.  The  girl  loves 
you — she's  got  money  and  you  haven't  even  a  cer 
tainty  in  your  profession. 


32  THE  OTHER  GIRL 

BRADFORD.    No? 

MRS.  WATERMAN.  No — with  your  ability  to  get 
amusement  out  of  the  burial  service. 

BRADFORD.  Now,  see  here,  Mattie.  We  both 
know  all  about  that.  I  have  unfortunately  laughed 
at  critical  moments  when  it  would  have  been  more 
generally  agreeable  to  have  remained  serious.  I  ad 
mit  it — but  my  vestry  understood  the  conditions 
very  well.  They  recognize  that  when  I'm  amused 
it  is  at  some  ridiculous  pretence  and  not  at  any  virtue 
or  at  any  laudable  endeavor.  It  seems  somewhat 
incongruous  that  I  should  retain  their  confidence  and 
that  my  own  sister — 

MRS.  WATERMAN.  (Going  to  him)  Why,  Cliff, 
it  isn't  you.  It's  your  profession.  Some  ministers 
are  born  for  it.  They'd  rather  be  good — but  you're 
a  man  who  could  enjoy  life  if  you  had  money. 

BRADFORD.     My  dear  Mattie  ! 

MRS.  WATERMAN.  No,  listen  to  me,  Cliff.  We 
both  know  that  your  profession's  a  great  struggle. 
Now  here's  the  richest  girl  in  Philadelphia.  I've 
suspected  it  all  along — when  you're  boxing  or 
wrestling  out  there  she's  at  the  window 

BRADFORD.  No — no — no — why  Mattie,  I  couldn't 
marry  a  woman  I  didn't  love,  even  if 

MRS.  WATERMAN.  But  Cliff,  dear,  you  haven't 
tried 

BRADFORD.  And  I  don't  mean  to  try — I'm  not 
striving  to  get  out  of  the  ministry,  Mattie.  I'm 
working  the  hardest  I  know  how  to  stay  in  it.  And 
if  I  can  marry,  the  woman  will  be  one  of  character 
and — 

MRS.  WATERMAN.     (Mocking)     And  piety. 

BRADFORD.  I  shan't  insist  on  that — but  I  shall 
hope  for  some  intelligence  and  spirituality. 

(Enter  HENRY  and  LUMLEY.    LUMLEY  is  a  young 
man  of  more  money  than  brains.) 


THE  OTHER  GIRL  33 

HENRY.     Mr.  Lumley,  my  dear. 
LUMLEY.     (Following)     I  came  a  trifle  early  be 
cause 

(JAMES  re-er.ters  by  steps  L.  and  removes  umbrella 
from  table — closing  it.) 

MRS.  WATERMAN.  (leaking  LUMLEY'S  hand) 
That  was  very  proper,  I'm  sure. 

BRADFORD.  Good-evening;  we  were  just  discus 
sing  you,  Mr.  Lumley. 

LUMLEY.  (To  MRS.  WATERMAN)  Pleasantly,  I 
hope. 

MRS.  WATERMAN.     (Smiling)     Oh,  yes. 

BRADFORD.  (Insinuatingly)  My  sister  was  plan 
ning  a  little  surprise  for  you. 

(JAMES  removes  table  cloth  and  blanket  pad.) 

LUMLEY.  Oh,  I  hope  I  haven't  spoiled  it,  I  love 
a  surprise. 

MRS.   WATERMAN.      (IVarningly)     Cliff! 

(Exit  JAMES  to  house.) 

LUMLEY.  At  least  tell  me  what  it's  about.  A  sur 
prise  is  so  much  more  enjoyable  if  one  knows  what 
its  about.  (BRADFORD  points  off  to  CATHERINE) 
Oh — Ah,  I  hadn't  seen  Catherine.  (Calling  off  left 
to  CATHERINE)  Good-evening.  (Impulsively  starts 
off.  Pause — to  MRS.  WATERMAN)  I  may?  (In 
dicates  stairs) 

MRS.  WATERMAN.    Why,  of  course. 

LUMLEY.    Thank  you.     (Exit  by  stairs) 

HENRY.     What  surprise? 

BRADFORD.    \Vhy  Mattie  advises  me  to 

MRS.    WATERMAN.      (Interrupting    and    looking 


34  THE  OTHER  GIRL 

quickly  tozvard  garden)  Cliff?  (To  HENRY) 
Nothing  at  all. 

HENRY.     Oh — (Turns  away  to  rail) 

BRADFORD.     Can't  we  tell  Henry? 

MRS.  WATERMAN.  I'll  tell  him  myself  some  other 
time. 

HENRY.    Handsome  couple  aren't  they? 

MRS.  WATERMAN.  Very — But  don't  stare  at 
them,  Henry.  Can't  you  see  there's  a  little  un 
pleasantness  ? 

HENRY.     Is  there?     Unpleasantness? 

MRS.  WATERMAN.  Yes — Some  little  disagree 
ment  probably. 

BRADFORD.  (Smiling  and  nodding  tozvard  yard) 
Best  place  in  the  world  for  an  argument. 

HENRY.    Two  mattresses — yes — ha,  ha  ! 

MRS.  WATERMAN.     (Chiding)     Henry! 

HENRY.  (In  mock  obedience)  What  is  it, 
Mattie  ? 

MRS.  WATERMAN.  They'll  think  you're  laughing 
at  them. 

HENRY.    Well — I  am. 

(Enter  ESTELLE  from  house  zvith  cloak  for  CATH 
ERINE.) 

ESTELLE.     Everybody  ready? 

MRS.  WATERMAN.     I  think  so. 

ESTELLE.     Didn't  I  hear  Mr.  Lumley's  voice? 

BRADFORD.     (Indicating  garden)     In  the  garden. 

ESTELLE.     (Seeing)     Oh. 

HENRY.    But  you  mustn't  look  at  them. 

ESTELLE.    No  ? 

MRS.  WATERMAN.  Catherine  isn't  going  to  the 
concert,  and  she's  telling  him  so. 

ESTELLE.  (To  MRS.  WATERMAN)  Why  not — 
Has  she  told  you  ? 


THE  OTHER  GIRL  35 

BRADFORD.  (With  back  to  rail)  Its  a  little  sur 
prise  we're  arranging  for  Reggie — (Nods  off) 

MRS.  WATERMAN.  (To  BRADFORD)  Nonsense. 
(To  ESTELLE)  But  the  rest  of  us  will  go,  of  course 
— I'm  really  sorry  for  Reggie,  but  then 

BRADFORD.  But  then  finesse  is  finesse — isn't  it, 
Mattie? 

HEXRY.     (Moving  from  rail)     Time ! 

MRS.  WATERMAN.     (To  HENRY)     What  is  it? 

HENRY.  First  round's  over — they're  coming. 
(Nonchalantly  tries  empty  bottle) 

MRS.  WATERMAN.  (Turning  with  society  man 
ner)  Oh! — Did  you  find  some  pretty  ones ?  (Goes 
to  rail.  HENRY  winks  to  BRADFORD) 

CATHERINE.  (Off)  All  these — You  won't  scold 
me,  will  you? 

MRS.  WATERMAN.     Not  this  time,  my  dear. 

(BRADFORD  goes  to  ESTELLE  R.) 

ESTELLE.  Is  the  finesse  Catherine's  or  your 
sister's  ? 

BRADFORD.     You  know  of  it? 

(Enter  CATHERINE  followed  by  LUMLEY.) 

ESTELLE.  (Shaking  head)  Only  what  you  just 
said — but  of  course  the  ministry  wouldn't  use 
finesse,  and  Wall  Street — (Nodding  toward  WATER 
MAN)  doesn't  know  how.  So  it  must  be  finesse  by 
one  of  the  ladies. 

BRADFORD.  But  you  think  either  Wall  Street  or 
the  Ministry  might  prove  susceptible  to  it. 

ESTELLE.    Both ! 

LUMLEY.  (At  top  of  steps)  It's  too  bad,  isn't 
it,  that  Miss  Catherine  isn't  feeling  well? 

HENRY.     (With  surprise)     Not  feeling  well? 


36  THE  OTHER  GIRL 

(CATHERINE  shakes  her  head  and  looks  at  ESTELLE 
who  has  a  glance  of  enquiry.) 

LUMLEY.  But  she  heroically  insists  that  the  rest 
of  us  shall  go  to  the  concert. 

CATHERINE.  (Demurely)  I  shan't  mind  being 
alone  at  all. 

MRS.  WATERMAN.  Oh,  you  won't  be  alone,  my 
dear — all  the  servants  here,  and  Doctor  Bradford's 
staying  in 

LUMLEY.  (Disappointed)  Oh!  Doctor  Brad 
ford  can't  go  either? 

BRADFORD.  (To  MRS.  WATERMAN)  Yes,  I've 
decided  to  go. 

(CATHERINE  half  smiles,   biting  her  under  lip  in 
restraint.) 

MRS.  WATERMAN.  (With  disapproving  surprise} 
Oh — you  have  ? 

(BRADFORD  nods  with  decision.) 

HENRY.  (To  BRADFORD)  It'll  be  a  trifle  late 
however,  Doctor. 

BRADFORD.     Will  it? 

HENRY.  (Nods  off)  My  telephone  was  Judge 
Bates — he's  coming  over  to  see  you. 

BRADFORD.  Oh — (To  LUMLEY)  Then  I  shall  be 
late  of  course. 

LUMLEY.  (Getting  his  tickets)  Oh — (Pause) 
Well,  I'll  leave  you  a  coupon  anyway  and  give  your 
name  to  the  man  at  the  door. 

MRS.  WATERMAN.  You  might  leave  two.  Cath 
erine  may  feel  better  after  a  while. 

CATHERINE.    No,  I'm  sure  I  sha'n't. 

( LUMLEY  gives  two  coupons  to  BRADFORD.     Enter 
FULTON.) 


THE  OTHER  GIRL  37 

FULTON.  I  hope  I  haven't  kept  you  waiting. 
Good-evening,  Reginald. 

LUMLEY.  Good-evening.  Too  bad  Catherine  isn't 
feeling  well. 

FULTON.     (Anxious)     Why,  my  dear 

CATHERINE.  It's  nothing,  father.  I'm  sure  I 
shall  be  all  right  as  soon  as  you've  gone  and  I  lie 
down  a  few  minutes. 

FULTON.    I'll  stay  home  with  you. 

CATHERINE.     Xo,  no — you  mustn't.     I  want  you 
to  hear  the  concert — I  want  you  all  to  hear  it. 
(Exit  to  house.) 

FULTON.     (Follows)     My  dear  Catherine 

LUMLEY.  We  can  postpone  it  of  course,  Mrs. 
Waterman. 

MRS.  WATERMAN.  We  should  only  lose  our 
evening;  all  of  us.  Catherine  wishes  to  be  alone, 
you  see.  (Exit) 

LUMLEY.    Oh.     (Follows) 

ESTELLE.  Do  the  "  finesse  "  and  the  "  surprise  " 
relate  to  the  same  subject? 

BRADFORD.    I  believe  they  do. 

ESTELLE.     Mrs.  Waterman  evidently  approved? 

BRADFORD.  (With  a  look  to  HENRY)  So  it 
seems. 

ESTELLE.     (With  some  perplexity)     Oh— (Exit) 

HENRY.     What's  she  mean  by  that? 

BRADFORD.  She  means  that  nobody  in  particular 
is  fooling  her. 

HENRY.  Who  is  being  fooled.  (BRADFORD 
shrugs  his  shoulders)  What's  the  surprise  Mattie's 
arranging  for  Reggie? 

^  BRADFORD.     Mattie's  going  to  marry  the  Fulton 
girl  to  me. 

HENRY.     Good!     And  is  Barkis  willing? 

BRADFORD.     Barkis  is  not  willing. 
^  HENRY.  ^   (Amused)      I'll  be  sorry  to  lose   you, 
Cliff,  but  if  Mattie's  set  her  mind  on  it  you'll  either 


38  THE  OTHER  GIRL 

have  to  marry  the  girl  or  move  into  an  hotel.  This 
place'll  get  too  warm  for  you. 

BRADFORD.  (Annoyed)  Mattie's  niy  sister  and 
now  that  you've  been  married  as  long  as  you  have — 
there's  no  particular  disloyalty  in  my  criticising  her 
to  you — 

HENRY.  (Warningly)  I  shall  be  a  very  pre 
judiced  umpire. 

BRADFORD.  Be  as  partisan  as  you  like ;  don't 
you  think  there's  something  heinously  cold-blooded 
in  suggesting  to  steal  another  man's  fiancee  simply 
for  her  money  and — 

HENRY.  (Laughing)  My  dear  Cliff,  with  your 
facilities  for  Divine  asistance  why  do  you  appeal  to 
a  weak  and  mundane  broker — 

BRADFORD.  Hang  your  assistance,  Henry — I  only 
wish  to  know  if  all  my  associates  are  as  worldly 
minded  as  that. 

HENRY.  I  fear  I'm  very  commerical  myself  and 
ten  years  evil  communication  has  probably  cor 
rupted  Mattie. 

BRADFORD.  (Pause)  How  much  longer  do  they 
visit  here? 

HENRY.    Fulton's  over  only  for  the  day. 

BRADFORD.    Of  course.    I  mean  the  young  ladies  ? 

HENRY.  Oh,  that's  entirely  in  Mattie's  hands. 
(Suddenly)  And — and  yours 

BRADFORD.    And  mine? 

HENRY.  (Nodding)  Yes,  if  you  stubbornly 
hold  out — you  know  it  may  take  Mattie  a  year  to 
get  you  together. 

BRADFORD.     Oh 

(Re-enter  ESTELLE  with  cloak  which  she  puts  on  a 
chair. ) 

ESTELLE.  May  I  wait  out  here  with  you  gentle 
men? 


THE  OTHER  GIRL  39 

BRADFORD.     Delighted. 
ESTELLE.     Thank  you. 

BRADFORD.  (Indicating  house)  Any  further 
complications  ? 

ESTELLE.  (Smiling)  Mr.  Lumley  wishes  to  wait 
for  Catherine  to  recover  and  Mrs.  Waterman  is  ex 
plaining  the  hopelessness  of  that  plan. 

HENRY.  Mattie'd  better  not  manage  too  en 
thusiastically.  Maybe  a  slight  cough  on  my  part — 
eh?  (To  BRADFORD) 

BRADFORD.     At   least   a   cough.      (Exit   HENRY) 
(To  ESTELLE)     I  feel  very  sorry  for  Miss  Catherine. 
ESTELLE.     I  feel  sorry  for  her  poor  father. 
BRADFORD.     Do  you — why? 

ESTELLE.  Because  he  takes  all  her  little  whims 
so  very  seriously. 

BRADFORD.  Has  she  many  whims? 
ESTELLE.  Quite  as  many  as  the  usual  American 
girl.  My  father  and  Mr.  Fulton  were  dear  friends. 
My  father  had  no  chance  to  repay  the  great  kindness 
of  Mr.  Fulton  and  /  may  never  have  a  chance,  but 
I  can  at  least  avoid  adding  to  his  cares. 

BRADFORD.     I'm  sure  Mr.  Fulton  must  feel  very 
grateful  for  your  influence  upon  his  daughter. 
ESTELLE.      (Shaking    head)      Catherine's    fairly 

self-willed  in  important  matters  and 

BRADFORD.     I  meant  your  unconscious  influence. 
ESTELLE.     Oh — Thank   you — vou  think   it  valu 
able? 

BRADFORD.    Quite. 

ESTELLE.  I  should  feel  more  complimented  if  you 
had  had  more  opportunities  to  judge. 

BRADFORD.  They  are  limited  as  to  Miss  Cath 
erine  perhaps,  but  you  must  remember  that  I  observe 
your  influence  upon  this  entire  house-hold  here. 
It  is  normal  and  womanly.  Our  plans  for  a  day 
drift  into  quite  other  channels  when  you  are  part  of 
the  conference. 


40  THE  OTHER  GIRL 

ESTELLE.  Oh,  don't  say  that  I  manage,  Doctor. 
I  don't  like  a  managing  girl. 

BRADFORD.    I  shan't. 

ESTELLE.     I  never  introduce  a  topic — never. 

BRADFORD.  Perhaps  not,  but  you  bring  sanity  and 
moderation  to  its  discussion.  You  bring  moderation 
and  temperance  to  our  way  of  living  if  I  may  say  so. 
There — there  isn't  as  much  wine  drunk  at  this  table 
as  there  was  before  you  came. 

ESTELLE.  I  knew  you  were  judging  unfairly. 
That's  Catherine's  influence,  not  mine.  Catherine's 
a  blue  ribbon  girl — a  tee-totle  crank.  /  like  a  little 
wine,  myself. 

BRADFORD.  So  do  I.  Total  Abstinence  isn't  tem 
perance.  It's  total  abstinence.  I  really  believe  that 
the  example  of  your  drinking  one  glass  of  wine  and 
only  one — tones  up  the  resolutions  of  a  man  like — 
(Starts  to  indicate  table)  well,  any  man,  much  more 
than  Miss  Catherine's  refusal.  Yours  is  control. 
Her's  is  prejudice.  Or,  at  least,  we  argue  that  way. 

ESTELLE.  This  is  all  very  flattering,  Doctor  Brad 
ford,  and  I'm  almost  tempted  to  accept  it,  but  I'm 
not  as  good  as  you  think.  To  begin  with,  I'm  an 
awfully  stingy  person — I  think  I'd  drink  a  second 
glass  of  beer  sometimes,  but  I  can't  drink  wine  that 
costs  three  or  four  dollars  a  bottle  when  there  are  so 
many  poor  women,  that  I  know  of,  working  a  whole 
week  for  that  money.  I  simply  can't  do  it,  that's  all. 

BRADFORD.  I  think  you  said  as  much  to  Mrs. 
Waterman  one  morning? 

ESTELLE.    I  know  it — wasn't  it  rude  of  me? 

BRADFORD.     She  didn't  consider  it  rude,  I'm  sure. 

(Enter  ANN,  the  Cook — Irish — by  stairs — L.) 

ANN.     (With  asperity)     Phwere'll  you  have  this 
bundle,  Doctor  Bradford? 
BRADFORD.    What  is  it? 


THE  OTHER  GIRL  4' 

ANN.  It's  a  fannel  shirt  and  two  towels  and 
some  shoes  and  a  horse's  billy  band  and 

BRADFORD.    Oh — Mr.  Sheldon's  things. 

ANN.     I  blave  they  are,  sor. 

BRADFORD.  Keep  them  until  Mr.  Sheldon  comes 
for  them,  please. 

ANN.  (Descending)  James  said  you  wanted 
them. 

BRADFORD.    James  was  mistaken. 

Axx.  (Grunting  as  she  goes)  Ah — o — I'll  put 
'em  under  the  porch  and  Mr.  Sheldon  can — (Groins 
inaudible) 

ESTELLE.  (Smiling)  Ann  is  plainly  not  a  mem 
ber  of  your  denomination,  Doctor. 

BRADFORD.     Why  plainly? 

ESTELLE.  She  wouldn't  disapprove  of  her  own 
pastors  taking  exercise. 

BRADFORD.    Has  she  disapproved  of  m y  doing  so  ? 

ESTELLE.     All  the  servants  have. 

BRADFORD.  Oh,  have  they?  Well,  it  Jias  occa 
sionally  added  to  their  duties. 

ESTELLE.  I  think  the  unfriendliness  is  a  question 
of  your  prayerbook.  We  girls  add  very  much  to 
their  duties  but  they  like  us. 

BRADFORD.  (With  some  fervor)  There  again 
you  see  your  influence :  and  with  me  too — May  I  say 
that  it  exists,  Miss  Estelle? 

ESTELLE.     (Pause)     If — if  it  is  true. 

BRADFORD.  It  is  very  true.  (Pause)  Is  this 
knowledge  unwelcome  ? 

ESTELLE.  (Very  serious  and  somewhat  startled) 
It  is  strange — I  don't  know. 

BRADFORD.     Strange — in  what  way? 

ESTELLE.  You've  seemed  so  right  to  me  all  the 
time  as  you  were,  that  I  shouldn't  have  wished  to 
influence  you.  I've  tried  to  move  towards  the  ideals 
that  you've  expressed.  I've  listened  as  one  who  fol 
lows,  another  listens.  Why,  of  course,  it's  strange. 


42  THE  OTHER  GIRL 

It  couldn't  be  more  strange  if  the  morning  paper 
came  out  with  an  editorial  saying  I'd  influenced  the 
editor.  (Laughs  anxiously) 

BRADFORD.  (Smiling)  Can't  you  forget  the 
preacher  ?  Can't  you  forget  that  I'm  one  ? 

ESTELLE.    I  have  at  times — forgotten  it. 

BRADFORD.    When  ? 

ESTELLE.  When  you've  been  the  athlete — there 
(Indicating  garden) 

BRADFORD.  Won't  you  remember  that  under  the 
clergyman,  however  wide  his  clerical  field,  there  is 
always  the  man,  human,  susceptible,  with  every  im 
pulse  to  which  a  woman  speaks — (Pause)  Will  you 
remember  that? 

ESTELLE.     If  you  wish  it — yes. 

BRADFORD.  And  you  won't  resent  my  remember 
ing  that  I'm  a  man  when  I  can't  forget  for  a  mo 
ment  that  you  are  a  woman. 

ESTELLE.  But  I've  never,  never  tried  to  make  you 
think  of  me  that  way.  Have  I  ? 

BRADFORD.    I  fear  not. 

(Enter  HENRY.) 

HENRY.  This  way,  Judge — (To  BRADFORD) 
Judge  Bates — Doctor. 

(Enter  JUDGE  BATES.     ESTELLE  goes  up.) 

BRADFORD.     Good-evening,  Judge. 
JUDGE.       (They    shake    hands)       Good-evening, 
Doctor. 

(ESTELLE  quietly  goes  by  2nd  door.) 

JUDGE.  Now  we've  only  a  moment,  Doctor.  I've 
pushed  this  matter  with  the  Times.  Ordinarily 
the  watchword  is  "  Delay  "  but  in  this  case  I've  made 


THE  OTHER  GIRL  43 

it  "Action,  action."  (Taking  chair]  Now  to 
Hecuba.  My  plan  is  an  editorial  retraction  to 
morrow*. 

HENRY.  But  Judge,  we  can't  rest  on  a  mere 
retraction. 

JUDGE.  Rest!  Who  said  rest?  My  plan  is  action 
— action. 

BRADFORD.     Good. 

(Enter  MRS.  WATERMAN.) 

MRS.  WATERMAN.  You  don't  mind  my  hearing 
it,  do  you? 

(HENRY  hushes  her.) 

JUDGE.  (Quickly)  Not  at  all — the  retraction  is 
only  the  beginning — there  must  be  damages.  We'll 
demand  one  hundred  thousand  dollars  and  settle  out 
of  court  for  fifty  thousand. 

HENRY,  (to  BRADFORD)  Cliff;  I  can  put  fifty 
thousand  into  first  mortgage  bonds 

BRADFORD.  /  couldn't  take  the  money,  Henry. 
If  some  charitable  institution 

JUDGE.  (Interrupting)  All  that  can  come  later. 
The  paper  is  sending  up  the  man  who  wrote  the 
article — I've  'phoned  him  to  meet  us  here. 

HENRY.     Why  not  their  lawyer? 

JUDGE.    I  don't  know. 

HENRY.  (Exaggerating)  Oh,  it's  an  appeal  for 
mercy,  the  fellow'll  have  a  wife  and  four  children 
and  his  place  on  the  paper'll  be  gone  if  we  press 
the  suit 

BRADFORD.     Well 


MRS.  WATERMAN.  Now  there's  Cliff  weakening 
already.  (She  goes  to  him) 

BRADFORD.    Well,  he  may  have  children. 

HENRY.  So  may  you  some  day — Now  you  keep 
still  and  leave  the  whole  business  to  the  Judge. 


44  THE  OTHER  GIRL 

(Enter  JAMES.) 

JAMES.    Card,  sir. 

HENRY.  (With  card,  reads)  "Morton  Taylor, 
New  York  Times  ". 

JUDGE.     That's  the  man. 

HENRY.     Show  him  up? 

MRS.  WATERMAN.  Wait !  Not  through  the  house, 
Henry.  If  he's  the  man  who  wrote  that  stuff  about 
Cliff,  I  won't  have  him  come  though  my  dining-room, 
and  I  don't  want  to  see  him  myself.  (To  JAMES) 
Where  is  the  person? 

JAMES.    In  the  reception  room,  ma'am,  below. 

MRS.  WATERMAN.  Bring  him  through  the  trade- 
men's  entrance.  (Indicates  yard) 

JAMES.    Yes,  ma'am.     (Exit) 

MRS.  WATERMAN.  Come,  Henry,  we'll  go  before 
he  comes. 

HENRY.  (Protesting)  But  I  want  to  hear  the 
interview. 

MRS.  WATERMAN.    Isn't  the  Judge  enough? 

JUDGE.    Quite. 

MRS.  WATERMAN.  You  must  go,  Henry.  Cath 
erine  wants  Estelle  to  stay  home  with  her,  and  we 
can't  all  desert  poor  Mr.  Lumley. 

HENRY.  (Going)  I'll  hear  a  bit  of  the  music, 
Judge,  and  then  come  over  to  your  house. 

JUDGE.     Make  it  the  Bar  Association. 

HENRY.    Very  well. 

MRS.  WATERMAN.  (In  emotion)  Remember, 
Cliff. 

JAMES.     (In  garden)     This  way,  sir. 

MRS.  WATERMAN.  There  he  is — Oh.  (Exit,  fol 
lowed  by  HENRY) 

JUDGE.    I'd  better  conduct  the  interview,  Doctor? 

BRADFORD.    By  all  means. 

JAMES.     (At  stairs)     Mr.  Taylor. 


THE  OTHER  GIRL  45 

TAYLOR.  (Entering  and  regarding  surroundings) 
This  is  pretty.  Kind  of  roof-garden  effect. 

(Exit  JAMES  to  house.'} 

JUDGE.  (At  once  to  business)  You're  Mr. 
Taylor  ? 

TAYLOR.     Yes,  sir.     Good-evening,  Doctor. 

BRADFORD.     Good-evening. 

JUDGE.     (Savagely)     I'm  Judge  Bates. 

TAYLOR.  (With  irritating  quiet)  Oh,  I  know 
you,  Judge  Bates. 

JUDGE.  Your  chief  telephoned  me  that  he  would 
send  up  the  young  man  who  wrote  the  article  accus 
ing  the  Reverend  Doctor  Bradford  of  dining  with  a 
prize  fighter  and  a  skirt-dancer. 

TAYLOR.     Yes,  sir. 

JUDGE.     You  the  man? 

TAYLOR.  Yes,  sir — (To  BRADFORD)  I  tried  to 
make  it  humorous,  of  course,  but — 

JUDGE.  Yes.  But  we  don't  take  that  view  of  it, 
Mr.  Taylor. 

TAYLOR.  (Smiling  in  conciliation)  I'm  sorry. 
It  seems  my  luck  to  offend  Doctor  Bradford  when  I 
want  him  to  know  that  I  admire  him  very  much. 
You  know,  Doctor,  I  didn't  write  any  of  that  stuff 
about  the  funeral — not  a  line — and  I'd  never  have 
winked  at  you  in  the  world  if 

JUDGE.    We  won't  speak  of  that,  sir. 

TAYLOR.  Pardon  me,  Judge  Bates,  I'll  speak  of  it. 
(To  BRADFORD)  I  just  want  to  say,  Doctor,  that  I 
had  no  intention  of  breaking  you  up  at  that  funeral, 
and  I've  never  roasted  you  in  my  life.  Even  this 
story  about  Kid  Garvey  was  touched  up  by  the  City 
Editor. 

JUDAE.    You  admit  it  was  a  story,  do  you? 

TAYLOR.     We  call  them  '"  stories  ".    ^The  news- 


46  THE  OTHER  GIRL 

paper  pays  for  them  according  to  the  space  they 
occupy,  and 

JUDGE.  We  won't  take  pay  on  the  space  basis. 
Now  hear  me.  To-morrow  your  paper  must  print 
a  retraction  of  that  libel  in  its  editorial  columns — 
understand  ? 

TAYLOR.    I  understand — but 


JUDGE.     (Commandingly)     Listen  to  me- 


TAYLOR.  Why  listen  to  you,  I'm  up  here  to  keep 
Dr.  Bradford  from  being  put  in  a  ridiculous  posi 
tion  by  going  into  court.  We  won't  retract  any 
thing.  He  knows  that  the  item  was  right. 

BRADFORD.    What  ? 

TAYLOR.  See  here,  Doctor — you  don't  mean  to 
make  the  usual  clerical  denial,  do  you,  because  the 
Kid  and  Myrtle  are  both  personal  friends  of  mine — 
I'm  on  the  sporting  page  as  well  as  on  the  religious 
and  they'll  both  of  them  make  affidavits  if  I  ask  them 
to. 

JUDGE.    Affidavit  to  what  ? 

TAYLOR.  To  having  dined  with  Dr.  Bradford  as 
I  said  they  did. 

JUDGE.  What!  You  threaten  subornation  of 
perjury  to  support— 

BRADFORD.  Wait,  Judge,  there's  manifestly  some 
misunderstanding.  Mr.  Taylor  has  evidently  mis 
taken  some  other  person  for  me. 

TAYLOR.  (Smiling)  Oh,  no,  Doctor.  I  wish 
wouldn't  do  that  with  me.  You're  badly  advised, 
that's  all 

(An  auto  horn  and  machinery  is  heard  off.) 

JUDGE.     Badly  advised! 

TAYLOR.     Very  badly  advised. 

JUDGE.    I'm  advising  Dr.  Bradford  in  this  action 

TAYLOR.     That  probably  explains  it. 


THE  OTHER  GIRL  47 

JUDGE.  (With  increasing  intensity)  I  advise  him 
to  get  a  retraction.  I  advise  him  to  get  the  heaviest 
possible  damages  a  jury  will  give  a  verdict  for — I 
advise  him  to  get 

TAYLOR.     I  advise  him  to  get  an  attorney. 

JUDGE.     (Rising)     You're  an  impertinent  young 

PUP- 
TAYLOR.     (Rising  slowly  through  respect)     See 

here.  Judge  Bates,  my  paper  doesn't  ask  me  to  stand 

personal  abuse.     Now  it's  only  your  age  that  makes 

"  impertinent  young  pup  "  go  with  me. 
JUDGE.     My  age! 
TAYLOR.    That's  all.    You're  old  enough  to  be  my 

father  or — I'd — (Pause) 

JUDGE.     You'd  what?    What'd  you  do,  sir,  what 

would  you  do? 

TAYLOR.     (Very  quietly)    Why  I'd  hit  you  on  the 

nose. 

BRADFORD.     (Interposing  as  the  JUDGE  blusters) 

My   friends — one  moment. 

(Auto  sound  ceases.) 

TAYLOR.  (To  BRADFORD)  A  man  shouldn't  pre 
sume  on  his  physical  debility. 

JUDGE.  Have  the  man  leave  the  house.  Doctor, 
or  I  can't  answer  for  the  consequences. 

BRADFORD.  I  think,  Mr.  Taylor,  your  visit  has 
accomplished  all  that  we  can  do  at  this  time. 

TAYLOR.  But  if  this  man  is  advising  you  to  make 
a  denial  and  back  it  up  with  a  lazv  suit 

JUDGE.  You've  been  asked  to  go,  haven't  you? 
Do  you  want  a  servant  to  kick  you  out? 

TAYLOR.  Oh,  there  won't  anybody  kick  me  out, 
Judge. 

BRADFORD.     (Disturbed)     Of  course  not. 

JUDGE.    Go. 

TAYLOR.    This 


48  THE  OTHER  GIRL 

(Enter  JAMES  from  dining-room.) 

BRADFORD.  One  moment,  Judge.  An  automobile 
just  stopped  at  the  house 

JAMES.     Mr.  Sheldon's  come,  sir. 

JUDGE.  Sheldon?  Ask  him  to  come  up  here  at 
once. 

JAMES.     Yes,  sir.     (Exit  by  stairs) 

JUDGE.  Now  remember,  young  man,  you  were 
twice  asked  to  leave  this  house  and  refused  to  do 
so. 

TAYLOR.    Is  Sheldon  going  to  put  me  out  ? 

BRADFORD.  I  hope  it  won't  be  necessary,  Mr. 
Taylor,  for  anybody  to  use  violence. 

TAYLOR.  I  want  only  half  a  dozen  words  with 
you  alone,  Doctor. 

BRADFORD.  (Refusing)  My  case  is  in  my  at 
torney's  hands. 

(Enter  KID  from  garden.) 

KID.     Good-evening,  Doctor. 

JUDGE.  Mr.  Sheldon,  I  want  you  to  throw  this 
man  out  on  the  sidewalk. 

TAYLOR.     Hello,  Kid! 

KID.     (Easily)     Hello,  Taylor,  what's  the  row? 

TAYLOR.     How's  Myrtle? 

KID.     Great;  why? 

TAYLOR.  I  thought  she  looked  a  little  tired  the 
last  time  I  saw  her ;  when  you  and  she  and  Doctor 
Bradford  were  at  the  table  there,  up  at  Rye  Beach. 

KID.  Tired  ?  I  thought  she  looked  great.  Didn't 
you,  Doctor  ?  That  young  lady  I  introduced  you  to  ? 

BRADFORD.    You  mean  Miss  MacCarthy? 

KID.     Yes. 

TAYLOR.  She's  Miss  Myrtle  Morrison  in  the 
theatres,  you  understand.  She's  the  Kid's  girl. 


THE  OTHER  GIRL  49 

BRADFORD.  You  call  Mr.  Sheldon  "  Kid  " — is 
that  a  nickname  ? 

TAYLOR.  You  didn't  know  that  Mr.  Sheldon's 
professional  name  was  "  Kid  Garvey  f  " 

JUDGE.  Kid  Garvey?  Are  you  Kid  Garvey? 
(Kio  nods.  Pause)  The  middle  weight  champion? 

KID.  (E-.isil\)  Oh,  yes,  but  I  don't  rub  it  in. 
If  people  don't  get  on  themselves,  why  I  don't  go 
round  puttin'  'em  wise — but  what's  the  trouble? 
You  don't  need  me  to  put  anybody  on  the  sidewalk 
with  the  Doctor  there — Eh,  Doc !  ha,  ha. 

(BRADFORD  sits  stunned  after  a  look  at  the  JUDGE  ) 

JUDGE.  Mr.  Taylor.  One  moment.  (Exit,  fol 
lowed  by  TAYLOR) 

KID.  (Trying  to  divine  the  situation}  The  old 
man  go'na  try  it.  (Laughs)  Say,  I  want  to  sec 
that.  (Following) 

BRADFORD.  Mr.  Sheldon!  (KiD  stops  and  turns) 
Sit  down  a  moment.  (KiD  returns  and  sits.  Pause. 
BRADFORD  slowly  passes  his  hand  over  his  face) 

KID.    Ain't  you  feeling  well,  Doctor? 

BRADFORD.    Not  very,  no. 

KID.     (Nodding  to  house)  same  trouble,  eh? 

BRADFORD.     Trifling  misunderstanding,  yes. 

KID.  Well,  that's  a  nice  fellow  all  right,  that 
reporter — 

BRADFORD.  Why  didn't  you  tell  me,  Sheldon,  that 
you  were  Kid  Garvey  when  I  asked  you  last  week? 

KID.  Well,  you  see,  Doctor,  I  only  took  you  on 
to  please  Bill  Muldoon  that's  all.  Sheldon's  my  right 
name,  anyway,  and  Bill — Bill  said  for  me  not  to 
say  anything,  see  ?  It  was  the  preachers  mostly  that 
backcapped  the  Horton  law  here  in  New  York,  and 
you  bein'  a  preacher,  Bill  thought  you  might  get 
cold  feet. 


50  THE  OTHER  GIRL 

BRADFORD.  I  see.  (Pause)  So  you  considerately 
said  nothing  to  impair  my  circulation. 

KID.  No.  Besides  it's  a  rest  for  a  fighter  not  to 
have  everybody  on  to  what  he  is.  Suppose  they  put 
up  a  fat  purse  for  the  best  preacher,  and  you  held 
the  belt  for  America,  England  and  Australia — just 
suppose — why  you  wouldn't  butt  in  with  your  medals 
every  time  some  guy  dropped  his  guard — now,  would 
you? 

BRADFORD.  I  don't  think  I  should,  but  in  this  case 
it  would  have  spared  some  trouble  if  you  had  been 
frank  with  me. 

KID.  Then  again,  you're  wanting  to  keep  every 
thing  dark  yourself,  not  wanting  to  go  to  a  regular 
gym.  Or  even,  put  on  a  sweater  and  take  a  run  in 
the  Park — why  it  all  tipped  me  not  to  get  too  flossy. 

BRADFORD.    Naturally,  naturally. 

(Re-enter  JUDGE  and  TAYLOR.) 

JUDGE.  Doctor,  Mr.  Taylor's  going  with  me  to 
meet  Harry  at  the  Bar  Association.  I  think  the 
whole  matter  will  be  dropped. 

BRADFORD.    Very  well,  Judge. 

TAYLOR.  And  don't  get  any  fixed  idea,  Doctor, 
that  I'm  unfriendly  to  you. 

BRADFORD.     Thank  you. 

TAYLOR.  Or  the  paper  either.  There's  only  one 
man  on  the  entire  staff  that's  got  it  in  for  you. 
Good-night,  Kid.  (Exeunt  JUDGE  and  TAYLOR) 

KID.  Good-night,  Beau.  (Pause)  His  paper 
been  turnin'  you  over? 

BRADFORD.    One  might  call  it  that. 

KID.  Well,  everything  them  fellows  say,  Doctor, 
good  or  bad,  helps  your  business  as  long  as  the 
public  don't  think  you're  selling  out.  What  is  it 
they  say  about  you? 


THE  OTHER  GIRL  51 

BRADFORD.  Oh,  there  was  a  rather  unkind  account 
of  our  little  lunch  at  Rye  Beach.  You  didn't  see  it? 

(Km  shakes  his  head.) 

KID.     (Taking  a  cigarette)    Got  a  match,  Doctor? 

BRADFORD.  (Passing  scrap  book)  Read  that 
\vhile  I  get  you  one.  (Exit) 

KID.  (Slowly  because  of  darkness — with  book) 
"  The  Reverend  Clifton  Bradford  is  taking  a  more 
muscular,  and  if  possible,  a  more  humorous  view  of 
life —  (A  rose  falls  on  iJie  book  from  aboi'c) 
Hello.  (Regards  rose.  Looks  up — his  face  !:gJi:s 
up  with  recognition)  Say — (Looks  after  BRAD 
FORD — in  whisper)  I  want  to  see  you — (Gives  a 
signal  that  BRADFORD  returns) 

(Re-enter  BRADFORD,  with  alcohol  light.) 

BRADFORD.    Read  it? 

KID.  Not  all.  It's  kind  a  dark.  (Takes  the  lamp 
and  reads,  also  lighting  his  cigarette — reads  mum 
bling:)  "  Jolly  little  dinner — m — m — Kid  Garvey 
— in — m  short  skirt  dancer — pleasure  palace  ". 
(Speaks)  You  know  /  ought  to  kick  on  that — 
Myrtle's  at  Kjgth's.  She  hasn't  done  a  turn  at  the 
Pleasure  Palace  in  two  years.  You  know  they  don't 
care  what  they  say,  these  newspaper  guys.  (Pause) 
That  sort  of  thing  don't  help  a  girl  any. 

BRADFORD.  You  can  tell  the  young  lady  that  I 
sympathize  with  her. 

KID.  (Putting  book  on  table)  I  will;  and  she'll 
appreciate  it.  You  made  a  hit  with  her. 

BRADFORD.  (Pause)  I'm  very  much  obliged,  Mr. 
Sheldon,  for  the  good  you've  done  me  physically.  I 
think  I  still  owe  you  twenty  dollars. 

KID.    Oh,  that's  good  any  time. 

BRADFORD.    Better  now.     (Hands  a  bill) 


52  THE  OTHER  GIRL 

KID.  And  you  don't  have  to  call  me  Sheldon  any 
more  if  you  don't  want  to — men  that  know  me  as 
well  as  you  do  call  me  Kid.  (Rises) 

BRADFORD.  Thank  you.  I  had  your  things 
wrapped  up  for  you.  The  cook  has  them.  (Crosses 
toward  rail) 

KID.  (Killing  time,  and  watching  window) 
Thanks.  Can't  sell  you  that  automobile,  then? 

BRADFORD.     I  don't  think  I  could  use  it,  really. 

KID.  We  made  that  run  to  Rye  Beach  all  right, 
didn't  we? 

BRADFORD.  Excellent  speed — almost  too  fast  for 
a  clergyman,  perhaps. 

KID.  (Reflectively)  Rye  Beach!  (Pause) 
What  was  the  lawyer  and  that  reporter  scrappin' 
about  ? 

BRADFORD.  Oh,  the  Judge  had  begun  suit  against 
the  paper.  That  is  what  I  might  have  avoided  if 
you  hadn't  have  been  so  modest. 

KID.     Suit?    Why? 

BRADFORD.  Well  you  see,  I  didn't  know  that  you 
were  the — Kid  Garvey,  or  that  Miss  McCarthy  was 
the  dancer  Miss  Morrison,  and  the  whole  thing 
seemed  malicious — it  seemed  invented. 

KID.  (Pause)  Oh!  (Getting  sullen — pause) 
So  you  sued  the  paper? 

BRADFORD.     An  action  was  contemplated,  yes. 

KID.  I  see.  Havin'  a  sandwich  with  me  was  bad 
enough  to  sue  about  was  it? 

BRADFORD.  Well,  you  read  the  item — t' wasn't  so 
much  the  fact  as  it  was  the  spirit  of  it. 

KID.  Lemme  see  that.  (Takes  book  and  light 
again.  Reads) 

BRADFORD.  My  vestry  has  asked  some  very  an 
noying  questions  about  the  item. 

KID.     Who? 

BRADFORD.    My  vestry. 

KID.     Who's  she? 


THE  OTHER  GIRL  53 

BRADFORD.  The  vestry  is  the  managing  board  of 
my  church — a  council  of  gentlemen. 

KID.     A  silk-stocking  bunch,  I  suppose. 

BRADFORD.  They  might  be  more  democratic,  no 
doubt. 

KID.  (Putting  book  on  table)  Well,  say,  Doctor, 
you  tell  'em  from  me  that  I  draw  just  as  much 
water  in  ;;/v  profession  as  any  of  them  does  in  theirs. 
I've  come  out  of  the  ring  in  nothing  but  a  pair  of 
skates  and  and  a  "  G  "  string  and  shook  hands  with 
the  best  men  in  the  country. 

BRADFORD.  Oh,  it  isn't  a  personal  matter  Sheldon. 
It  is  an  ethical  one.  It's  a  clergyman's  duty  to  do 
anything  he  can  for  every  man ;  and  in  your  case  it 
would  be  a  great  pleasure  besides,  because  you're  a 
most  likeable  chap — but,  don't  you  see,  it's  the 
business.  Clergymen  don't  dine  with — with  Cham 
pions  because  that  would  be  as  much  as  to  say  that 
the  cleryman  approved  of  the — of  the  champion's 
business,  and  besides  that,  you  own  a  liquor  place, 
don't  you? 

KID.  I  own  a  saloon,  yes.  Every  fighter  owns  one 
if  he  wins  out. 

BRADFORD.  Well  of  course,  a  clergyman  isn't  ex 
pected  to  approve  of  that. 

KID.  I  suppose  not.  But  on  the  Rye  Beach  trip, 
I  just  wanted  to  show  you  my  auto.  I  thought  no** 
body'd  pay  any  attention  to  us.  Thousands  of  people 
that  know  me  in  the  ring  don't  know  me  at  all  with 
my  clot  lies  on — and  meeting  Myrtle  there  was  pure 
accident. 

BRADFORD.    I'm  sure  of  it. 

KID.  Because  I  like  you,  Doctor.  You're  a  sure 
hit  with  me,  and  I  don't  need  anybody's  money. 
My  saloon's  worth  500  a  week  and  I  can  turn  ten 
thousand  clear  with  a  dub  "  knock  out."  I  took 
your  money  just  to  make  you  feel  easy,  that's  all, 
and  you  tell  your  vestry  gazabos  that  I  did  this  with 


54  THE  OTHER  GIRL 

the  last  20  you  gave  me.      (Lights  the  bill  by  the 
lamp  and  starts  to  light  his  cigarette) 

(Enter  ESTELLE.) 

BRADFORD.  (Catching  the  bill  and  putting  out  the 
fire)  Don't  do  that,  Sheldon.  It  isn't  like  you. 
That's  the  first  vain  thing  I've  ever  seen  you  do. 

KID.  Why  not  do  it?  Good-evening — (To 
ESTELLE,  easily) 

ESTELLE.    Good-evening. 

BRADFORD.  Because  it's  burning  a  week's  sus 
tenance  for  some  family.  If  you  don't  want  it,  Miss 
Kitteridge  would  like  it,  I'm  sure,  to  send  to  needy 
persons  whom  she  knows,  persons  in  distress,  want 
and  misery. 

KID.    All  right,  give  it  to  her. 

ESTELLE.    Why  was  Mr.  Sheldon  burning  it  ? 

BRADFORD.  (Going  c.  to  ESTELLE)  That  I  might 
tell  my  vestrymen  that  the  champion  middle  weight 
fighter  of  the  world,  "  Kid  Garvey  ",  doesn't  need 
their  patronage  nor  their  approval. 

ESTELLE.    You  mean — ? 

BRADFORD.  That  Mr.  Sheldon  is  that  popular 
hero. 

ESTELLE.    Oh. 

BRADFORD.  Good-night,  Sheldon.  I  must  go  over 
to  my  church  a  moment,  and  I've  considerable  work 
at  my  table  when  I  get  back. 

KID.  Good-night.  Don't  forget  to  go  at  the  bag, 
Doctor,  every  day. 

BRADFORD.     I  won't.     (Going) 

KID.    And  Doctor. 

BRADFORD.     (Stopping  at  door)     Yes. 

KID.  (To  ESTELLE)  Excuse  me  a  moment. 
(Crosses  and  apart  to  BRADFORD)  Now  that  you 
know  who  I  am  you  might  feel  like  putting  a  little 
something  on  a  fight  now  and  then  on  the  quiet. 


THE  OTHER  GIRL  55 

(Pause)  Keep  oil  the  next  go  of  mine  in  Septem 
ber.  I  ain't  saying  anything,  only  just  keep  off. 
(Winks) 

BRADFORD.  %Thank  you,  Kid.  I  promise  to  keep 
oil.  Good-night. 

KID.     Good-night. 

(E.vit  BRADFORD.) 

ESTELLE.     Air.  Sheldon. 

KID.     Miss  Kitteridge. 

ESTELLE.  Do  you  think  you've  acted  the  part  of 
a  gentleman? 

KID.     When? 

ESTELLE.  Do  you  think  Miss  Fulton  would  have 
given  you  her  confidence  as  she  has  if  she'd  known 
you  were  Kid  Garvey? 

KID.  Why  not?  It  makes  most  women  so  easy 
that  I  don't  tell  'em. 

ESTELLE.  Well,  you  don't  know  Catherine.  Kid 
Garvey's  a  name  that's  been  pretty  thoroughly  dis 
cussed  during  the  last  few  days  in  this  house.  "Why, 
you  own  a  saloon. 

KID.     (With  pride)     The  finest  in  Xew  York. 

ESTELLE.     Think  of  it. 

KID.  Do  you  ever  drink  anything.  Miss  Kit 
teridge  ?  Lots  of  fine  ladies  do,  you  know. 

^  ESTELLE.     Yes.     I  take  a  glass  of  wine  with  my 
dinner — yes. 

KID.  Well  I  don't — not  even  with  my  dinner. 
(Displays  his  cigarette)  Four  cigarettes  a" day. 

ESTELLE.  But  you  don't  know  what  you've  done. 
Kiss  Fulton's  engaged  to  marry  one  of  the  most 
fashionable  and  well-known  men  in  Xew  York,  and 
your  attention,  Air.  Sheldon,  attentions  that  I've  al 
most  felt  it  my  duty  to  report  to  Air.  Fulton,  have 
made  her  discontented  with  her  engagement.  She's 


56  THE  OTHER  GIRL 

thinking  seriously  of  saying  "  no  "  to  the  gentleman 
and  all  on  your  account. 

KID.  Don't  /  take  any  chances.  I'm  engaged  my 
self  to  marry,  a  girl  that's  got  more  reputation  in  a 
minute  than  Miss  Fulton's  friend  has  got  in  a  year. 
She's  a  planet. 

ESTELLE.  So  much  the  worse,  then.  All  this  has 
been  very  disloyal  to  her. 

KID.  Well,  (Pause)  that's  a  long  story  too. 
Everyone  has  to  do  the  best  he  can.  I'm  being 
square  with  your  little  friend,  though. 

ESTELLE.  Well,  be  square  with  yourself.  Miss 
Fulton's  waiting  for  you  in  the  reception  room, 
and — 

KID.     (Starting  to  steps')     Oh. 

ESTELLE.  (Stopping  him)  But  I  want  you  to 
promise  me  that  this  shall  be  the  last  time  you  try 
to  see  her,  the  last  time. 

KID.     Oh,  no. 

ESTELLE.  Yes.  You  must  know,  Mr.  Sheldon, 
that  Mr.  Fulton's  daughter  cannot  continue  an 
acquaintance  with  a  man  of  your  profession — with 
a  man  who  keeps  a  saloon. 

(Enter  CATHERINE.) 

CATHERINE.    Oh!    Excuse  me. 

KID.     (Crossing)     I  was  just  coming  to  find  you. 

ESTELLE.    Where  is  Dr.  Bradford,  Catherine? 

CATHERINE.    Gone  out. 

ESTELLE.  He  has  just  told  me  Mr.  Sheldon's  real 
name  and  business 

KID.  (Interrupting)  Not  too  sudden,  pardner. 
Let  me  do  this,  won't  you?  We're  the  principals 
here,  Miss  Fulton  and  myself. 

ESTELE.     Very  well — you  do  it  then. 

KID.    All  right.     Suppose  you  wait  in  there. 

ESTELLE.     (Pauses)     Certainly.     (Exit) 


THE  OTHER  GIRL  57 

(KiD  blows  out  the  alcohol  lamp  which  leaves  the 
moonlight  from  the  left  and  the  light  from  the 
two  doors  with  a  shadow  thrown  by  the  wall  be 
tween  the  doors.  He  then  looks  quickly  and 
cautiously  about  and  kisses  CATHERINE,  who  is 
timidly  shrinking  into  the  shadow1.) 

CATHERINE.     Don't! 

Km.  \Yhy,  that  light  stops  anybody  from  see 
ing  us  in  this  shadow. 

CATHERINE.     What  does  Estelle  mean? 

KID.  Oh.  I've  got  some  money  in  a  business  that 
she  don't  like.  I  ain't  in  the  business  myself.  An 
other  man  runs  it  for  me  and  I  take  what  it  wins. 

CATHERINE.     Gambling? 

KID.  Not  on  your  life,  a  fair  and  square  business 
with  a  license  from  the  State.  I'll  tell  you  later. 
You've  got  some  confidence  in  me,  haven't  you? 

CATHERINE.     Yes. 

KID.  (Eagerly)  I'm  going  to  see  how  much. 
This  little  friend  of  yours  is  too  busy.  I've  never 
taken  any  trouble  to  "  get  next  "  with  her  and  its 
always  that  way  with  girls,  when  a  "  looker  "  like 
you,  and  an  "  also  ran  "  like  Miss  Kitteridge  double 
up,  the  girl  that's  just  "  good  to  her  mother  "  tries 
to  foul  the  winner.  Now  we'll  fool  her,  see  ? 

CATHERINE.     I  don't  understand  you. 

KID.  (With  convincing  earnestness)  I'm  on  the 
level  with  you,  little  one,  my  real  name  is  Sheldon. 
That's  the  name  I  "  arrive  "  at  a  hotel  with  and  the 
name  I  put  on  a  contract.  The  girl  that  goes  with 
me  will  be  Mrs.  Sheldon.  She'll  get  a  man  that 
can  do  a  day's  work  and  that  never  drank  a  drop 
in  his  life. 

CATHERINE.     I  know  it. 

KID.  Now  it's  up  to  you.  My  auto's  outside  and 
if  you'll  pack  a  little  kit  that'll  stand  you  over  night 
we'll  drop  all  talking  right  now. 


58  THE  OTHER  GIRL 

CATHERINE.    Now  !    Oh,  dear,  I  don't  know — 1 — • 

KID.  If  you  had  any  other  lady  friend  but  this 
one — 

CATHERINE.  I  have — I  have  another.  Mrs. 
Waterman  told  me  to  do  what  I  thought  best. 

KID.     Were  you  talking  to  her  about  me? 

CATHERINE.    Yes. 

KID.  And  she  said  that,  eh?  Well,  there  you 
are! 

CATHERIN.  I  said  you'd  never  asked  me  to  be 
your  wife,  but — 

KID.  Well,  I  ask  you  now — see  that?  (Shows  a 
ring)  There's  two  rubies  and  a  sapphire  that  a 
committee  that  was  shy  three  thousand  dollars  put 
up  to  me  to  cover  it.  Fit  one  of  your  fingers,  I  guess. 

CATHERINE.  I'm  wearing  one  ring.  Of  course 
you  know  that. 

KID.  Yes,  and  I'll  be  just  as  open  with  you.  I'm 
engaged  myself — so  you  see  it  goes  double.  Take 
off  that  other  one. 

CATHERINE.    To  whom  are  you  engaged? 

KID.  She's  a  star  in  an  Opera  Company.  I  don't 
suppose  the  name  matters.  I  don't  ask  you  any 
questions,  do  I  ? 

CATHERINE.     No. 

KID.  Shake.  (She  gives  him  her  hand.  He 
embraces  her  again  and  kisses  her}  It's  just  a  fairy 
story,  my  winning  a  queen  like  you. 

CATHERINE.     Is  it? 

KID.     (With  the  girl  in  his  arms)     You  bet  it  is. 

CATHERINE.    Am  I  a  queen? 

KID.  You're  my  queen  all  right.  (Gently  releases 
her)  Now  I'll  go  out  and  light  up  the  coal  oil 
buggy*  and  when  you  hear  two. toots  on  the  horn 
you  step  out  yourself.  (Crosses  toward  steps,  stops 
and  turns — )  Here's  a  mask  to  keep  the  wind  out 
of  your  eyes.  We'll  go  to  White  Plains  in  half  an 


THE  OTHER  GIRL  59 

hour,  and  I've  got  a  friend  there  that'll  dig  up  a 
preacher  and  everything'll  be  as  right  as  rain. 

CATHERINE.     Don't  go  yet — not  yet. 

KID.  Better  not  over-play  our  luck,  Babe.  Some 
thing  may  queer  us. 

CATHERINE.    Everybody's  gone  to  the  concert. 

KID.  (Pushes  her  toward  door)  No,  no.  Go  on, 
hurry  up. 

CATHERINE.  (Shrinking)  I've  got  to  go  past 
Estelle. 

KID.     Never  mind  her. 

CATHERINE.  I  can't  bring  a  bag  down  without 
her  seeing  it. 

KID.  Drop  it  out  the  window  to  me.  I've  got 
some  bundles  of  my  own  down  stairs  and  nobody '11 
see  it,  nobod\.  Now  we're  losing  good  time  every 
second. 

CATHERINE.     I  think  I  should  like  to  tell  Estelle. 

KID.  Not  on  your  life.  Just  say  we're  going  for 
a  spin  in  the  bubble. 

CATHERINE.  But  father  11  be  so  frightened  when 
I  don't  come  home. 

KID.  Send  him  a  note  by  an  A.  D.  T.  boy,  now 
don't  be  long. 

CATHERINE.     I  won't — Oh   (Hesitates  in  door) 

ESTELLE.     (Off)     What  is  it,  Catherine? 

KID.  (Behind  CATHERINE  in  the  shadow)  Don't 
wait.  Just  side  step  her. 

(Exit  CATHERINE.) 

ESTELLE.     (Loudly)     Catherine,  Catherine! 
KID.     (Watching)     Never  touched  her.     (Starts 
to  steps) 

(Enter  ESTELLE.) 
ESTELLE.    Mr.  Sheldon. 


60  THE  OTHER  GIRL 

KID.     (At  steps)     Hello ? 

ESTELLE.     Where's  Catherine  going? 

KID.     She  went  upstairs,  didn't  she? 

ESTELLE.  Yes,  and  she  was  carrying  an  automo 
bile  mask  in  her  hand.  Why?  (Pause)  You 
haven't  asked  Catherine  to  go  out  with  you,  have 
you? 

KID.    Why  not?    It's  dark.    Who'll  see  her? 

ESTELLE.     I  shan't  let  her  go. 

KID.  (Watching  the  window)  Well,  of  course, 
that's  for  her  to  say,  not  me. 

ESTELLE.    Have  you  told  her  who  you  are  ? 

KID.    Oh,  yes.     She  knows  my  real  name  now. 

CATHERINE.     (On  balcony)     Are  you  there? 

KID.  Yes.  (CATHERINE  drops  small  handbag) 
Look  out. 

(Km  catches  bag.) 

ESTELLE.  (Startled  and  looking  up)  Who's 
that?  Mr.  Sheldon—  (Takes  hold  of  bag)  What 
does  this  mean? 

KID.     What? 

ESTELLE.     This  is  Catherine's. 

KID.  I'm  borrowing  it  to  take  some  of  my  things 
in,  that's  all.  She  can  lend  the  bag,  can't  she? 

ESTELLE.    I  don't  believe  you. 

KID.    Well,  let  go  of  it,  and  I'll  show  you. 

ESTELLE.    I  won't  let  go  of  it. 

KID.  (Smiling)  You  don't  think  you  can  hold  it, 
do  you,  if  I  start  to  take  it? 

ESTELLE.  I  can  hold  it  a  while,  and  I  will,  and  I 
can  call  the  servants.  (Calls)  Ann!  Ann! 
James 

(Enter  CATHERINE.) 
CATHERINE.    Estelle?  what  do  you  mean? 


THE  OTHER  GIRL  61 

\ 

ESTELLE.  What  do  you  mean,  Catherine?  This  is 
your  bag. 

CATHERINE.  Give  it  to  me.  (Takes  it)  Go,  Mr. 
Sheldon,  this  way — never  mind  your  things. 

KID.  (Taking  bag)  When  I  blow  the  horn. 
(Exit  through  house) 

ESTELLE.  Mr.  Sheldon!  (Then  to  CATHERINE 
TV/ZO  starts  in)  Catherine  what  does  this  mean? 
(Takes  hold  of  her)  At  least,  tell  me. 

CATHERINE.  You  mustn't  hold  me,  Estelle. 
(Picks  up  cloak) 

ESTELLE.  This  is  a  foolish  infatuation,  Catherine 
clear.  I  told  you  you  were  going  too  far  in  it. 
Think  of  your  father,  Catherine — think  of  your  posi 
tion,  dear.  \Yhy  it's  like  running  away  with  the 
coachman — or  with  James. 

CATHERINE.  That  isn't  so,  Estelle  Kitteridge, 
Mr.  Sheldon's 

ESTELLE.  The  man's  a  prize-fighter,  my  dear, 
and  a  saloon  keeper. 

CATHERINE.  I  don't  believe  you.  He  never  drank 
a  drop  in  his  life,  he  told  me  so.  Dr.  Bradford  and 
Mr.  Waterman  both  say  he's  the  most  wonderful 
man  they  ever  knew. 

ESTELLE.  Of  course  he  is.  He's  the  champion 
of  his  class,  but  what  is  he  socially?  He  may  not 
be  even  honorable  in  this  night's  venture. 

CATHERINE.  Honorable  !  Why,  there's  his  ring — 
a  perfectly  beautiful  ring. 

(A   horn   blows — CATHERINE  starts.) 

ESTELLE.     Catherine.     (Holds  her) 

CATHERINE.  You  mustn't  hold  me,  Estelle  Kit 
teridge.  You're  not  my  mother. 

ESTELLE.  But  I  don't  believe  the  ring's  in 
earnest.  Let  me  see  it.  Just  let  me  see  the  ring, 
Catherine. 


62  THE  OTHER  GIRL 

CATHERINE.     There.     (Extending  hand) 

ESTELLE.  Is  anything  written  on  it?  (Takes  it 
quickly)  Oh,  I  dropped  it.  Excuse  me,  dear,  but 
I  see  it — right  there.  I'll  keep  my  eye  on  it. 

CATHERINE.  You  did  that  purposely  because  you 
know  I'm  superstitious.  Where  is  it?  (Hesitates) 

ESTELLE.     There — I'm  watching. 

CATHERINE.  (Laying  down  mask  and  cloak  and 
going  by  steps)  It's  just  too  unkind  of  you  for 
anything,  Estelle.  (Exit  speaking  off)  and  it's  per 
fectly  dark  in  this  garden.  (ESTELLE  quickly  puts 
on  mask  and  cloak  and  goes  into  the  house)  Now 
where  is  it?  Estelle,  Estelle!  (ESTELLE  closes 
second  door  and  locks  it)  Estelle!!  (ESTELLE 
closes  first  door  and  locks  it)  Estelle!!  (CATH 
ERINE  appears  up-steps.  Horn  blows  off)  Why, 
she's  taken  my  things.  Estelle.  (Goes  to  door 
ist)  It's  locked.  (A  light  appears  in  library) 
What  do  you  mean?  (Runs  to  second  door) 
Both  locked !  (Sound  of  auto  working.  Shakes 
door)  Let  me  in,  let  me  in — why,  she's  tak 
ing  my  place — I  could  kill  her.  (Runs  to  ist  door 
and  shakes  it)  Let  me  in — (Kicks  in  small  diamond 
panes  at  foot  of  door;  beats  the  frame  of  it  with  her 
hands)  Let  me  in — Oh,  open  this  door,  somebody! 
(Is  now  hysterical)  Open  it,  open  it  quick. 

(BRADFORD  appears  at  window.) 

BRADFORD.    What's  the  matter.    Who  is  it  ? 

CATHERINE.  (Crying)  Oh — oh — locked — locked 
out — oh — oh. 

BRADFORD.  Why,  Miss  Fulton.  Locked  out— 
what  is  it?  (Drops  from  window) 

CATHERINE.  They're  both  locked — both  locked. 
(Weeps) 

BRADFORD.  Well,  come  this  way.  There's  an 
other  entrance.  (Starts  to  steps) 

(Enter  ANN  the  cook,  violently,  upstairs.) 


THE  OTHER  GIRL  63 

Axx.  My  lands,  what's  the  matter — who's  killin' 
somebody?  Why,  my  darlint,  is  it  you?  And  Dr. 
Bradford!!!  (Takes  CATHERINE  in  her  arms) 

JAMES.  (Opening  door)  What's  the  matter? 
(JAMES  enters)  Who  is  it?  Why,  what's  hap 
pened? 

(CATHERINE  is  sobbing.) 

ANN.  Phwat's  happened?  Is  it?  And  where 
were  you  all  along  and  this  poor  child  locked  up  in 
the  dark  with  Dr.  Bradford. 

BRADFORD.     I  came  to  Miss  Fulton's  assistance. 

ANN.  (Leading  CATHERINE  off)  Oh,  you  did, 
did  you? — mind  the  door  locked  and  the  family  all 
gone  to  the  opra.  You're  a  foine  Priest,  you  are ! 

(Exit  with  CATHERINE.) 

BRADFORD.  Miss  Fulton  speak,  tell  this  woman. 
(Starts  to  follow} 

JAMES.     (Interposing)     Indeed  you'll  not. 

BRADFORD.    What ! 

JAMES.     You'll  say  no  more  to  the  child. 

BRADFORD.  You  speaking  to  me — you — stand 
aside — (He  crosses  JAMES  towards  house) 

JAMES.  Hold  on!  (Takes  hold  of  BRADFORD  by 
one  shoulder) 

BRADFORD.  Don't  put  your  hands  on  me  (Pause) 
A  second  time,  take  your  hands  from  my  shoulders 
(Pause.  Then  BRADFORD,  puts  one  palm  under 
JAMES'  chin  and  shunts  him  over  the  table) 

Curtain 


f)4  THE  OTHER  GIRL 


ACT  II. 

SCENE  : — The  Library.  Big  door  at  back  c.  Beyond 
it  in  small  hall  another  single  door.  The  ordi 
nary  winding  stairs  of  a  New  York  house  as 
cend  from  below  to  the  stage  level  zvhcre  there 
is  a  landing  and  continue  going  up  until  out  of 
sight.  The  library  is  modern  and  luxuriously 
•furnished  and  supplied.  There  is  a  big  table  L. 
c.,  a  fire-place  and  mantel  R.  At  R.  is  a  big 
couch. 

DISCOVERED:— BRADFORD  at  R.  of  table  trying 
to  write.  Pause.  He  goes  to  R.  wall  and  rings 
push  button — Returns  to  table. 

BRADFORD.  (Alone)  It  is  useless.  The  thoughts 
do  not  come.  Much  less  the  words !  A  man  who 
has  just  laid  violent  hands  upon  a  fellowman  even 
under  justifying  circumstances,  as  the  world  would 
view  them,  can't  utter  words  consonant  with  the 
spirit  to  which  we  look  for  guidance.  I  shall  repeat 
my  old  sermon  on  "  Let  him  cast  the  first  stone."  I 
haven't  given  it  in  five  years.  (Pause.  ANN  passes 
heavily  up  the  stairs  from  below.  BRADFORD  hears 
her  and  turns  to  regard  her)  Oh!  (Pause.  Rises) 
The  evening  would  have  been  much  better  spent  at 
the  concert ;  and  the  music  would  have  made  me 
think  productively  as  it  always  does.  It  is  incon 
gruous  the  amount  of  inspiration  to  sacred  work 
that  I  seem  to  get  from  secular  music.  (Regards 
watch)  Too  late  to  go  now.  (Rings)  I'll  explain 
to  James  how  utterly  unwarranted  and  how  repre 
hensible  in  a  servant  his  physical  interference  was. 
(To  table  R.  Pause) 

(Enter  MAGGIE.) 


THE  OTHER  GIRL  65 

M AGGIE.     (IVith  dignity)     Did  you  ring,  sir? 

BRADFORD.  Oh!  That  you,  Maggie?  Yes,  I 
rang.  Tell  James  that  I  wish  to  see  him  here. 

MAGGIE.  (Without  dialect)  James  can't  come, 
sir. 

BRADFORD.     Can't  come?    Why? 

MAGGIE.  He's  that  bad,  sir,  in  the  small  of  his 
back  and  one  hip.  I'm  waitin'  up  myself  in  James's 
place,  sir,  to  answer  the  bell. 

BRADFORD.    Oh ! 

MAGGIE.     (Pause)     Is  that  all,  sir? 

BRADFORD.     Yes,  that's  all,  thank  you. 

MAGGIE.  'Twas  my  night,  sir,  to  visit  me  cous 
in's  wife  in  Jersey  City,  but  the  cook  said  'twas  far 
better  for  all  the  help  to  stay  in  the  house  together 
this  night,  sir. 

BRADFORD.  The  cook !  She  just  went  upstairs, 
didn't  she? 

MAGGIE.  She  was  down  a  moment  to  get  a  bit  of 
cooking-sherry  for  James.  She's  on  the  top  floor, 
sir,  with  her  door  open  where  she  can  listen  for 
James  and  the  young  lady,  sir. 

BRADFORD.    You  mean  Miss  Fulton? 

MAGGIE.    I  do. 

BRADFORD.  Isn't  Miss  Kitteridge  with  Miss  Ful 
ton? 

MAGGIE.    I  don't  know,  sir. 

BRADFORD.  Do  you  know  how  Miss  Fulton  came 
to  be  locked  out  on  the  back  porch  this  evening? 

MAGGIE.  (Insinuatingly)  I  do  not,  sir.  I  only 
know  what  the  cook  told  me.  Perhaps  your  rever 
ence  knows 

BRADFORD.    You  may  go,  Maggie. 

MAGGIE.    Thank  you,  sir.     (Exit) 

BRADFORD.  (Regarding  watch)  Ten  o'clock! 
An  hour  yet  even  if  they  don't  stop  somewhere  for 
supper.  Strange  that  Miss  Kitteridge  doesn't  offer 
some  explanation  of  it.  Probably  disapproves  of 


66  THE  OTHER  GIRL 

my  treatment   of   James.      (Pause)      Well,   so   do 


(Enter  HENRY  from  below.     He  takes  cigar  and 
strikes  match  at  mantel.) 

BRADFORD.    Oh!  you're  early,  Henry. 

HENRY.  Yes — I  left  Mattie  with  Mr.  Fulton. 
(Pause)  Lumley  been  here? 

BRADFORD.     Reginald?     Not  that  I  know. 

HENRY.     (R.  c.)     He  'phoned? 

BRADFORD.    Not  to  my  knowledge. 

HENRY.  Funny!  I  went  over  to  the  Bar  Asso 
ciation  to  meet  Judge  Bates  and  when  I  got  back 
to  the  concert  the  folks  said  Lumley  had  gone  out 
an  hour  before  to  telephone  here  about  Miss  Fulton. 

BRADFORD.  Haven't  heard  of  it.  Perhaps  Mag 
gie  answered  the  'phone. 

HENRY.  Probably  an  excuse.  Poor  Lumley 
must  have  been  dreadfully  bored  with  just  Mattie 
and  old  Fulton  when  he'd  planned  a  box  full  of 
young  people  .  .  .  Well,  I  met  the  Judge — 
(Laughs)  ha,  ha,  I  haven't  told  Mattie— I  told  Ful 
ton,  but  not  Mattie — ha,  ha!  (Sits  on  the  sofa) 

BRADFORD.    Absurd,  wasn't  it? 

HENRY.  No  wonder  he  had  a  good  punch  with 
that  easy  looking  left  of  his.  We're  pretty  "  jay," 
Cliff,  not  to  have  known  all  the  time  that  he  was  a 
professional  fighter. 

BRADFORD.  You  forget  that  I  asked  him  directly 
and  that  he  denied  it.  I  suspected  him  when  we 
dined  together.  When  he  reached  for  the  biscuit 
with  one  hand,  he  instinctively  guarded  with  the 
other.  (Imitates  him) 

HENRY.  You  know  I'd  give  a  hundred  dollars 
for  a  kodak  of  him  and  you  at  dinner  together,  ha, 
ha — Cliff — you're  the  most  up-to-date  clergyman  in 
New  York.  Ha,  ha.  The  next  time  I  go  to  the 


THE  OTHER  GIRL  67 

"  Suburban  "  I  want  you  in  the  betting  ring  with  a 
handful  of  checks  and — 

BRADFORD.  I've  a  more  edifying  spectacle  for 
you  than  that. 

HENRY.    You  have,  eh? 

BRADFORD.    Yes. 

HENRY.    \Yhat  is  it? 

BRADFORD.  (Rises)  James  took  hold  of  me  by 
the  shoulders  to-night  to  prevent  my  entering  the 
house. 

HENRY.    Who  did? 

BRADFORD.     James — the  butier — and 

HENRY.    Took  hold  of  you? 

BRADFORD.     Yes,  and  I 

HENRY.    \Yith  his  hands? 

BRADFORD.    Yes,  with  his  hands. 

HENRY.    Been  drinking? 

BRADFORD.     \Yho  ? 

HENRY.    James. 

BRADFORD.    I  think  not. 

HENRY.  (Rises)  But  this  wasn't  in  earnest- 
was  it? 

BRADFORD.  Yes,  in  earnest — Let  me  tell  you  of 
it. 

(Enter  JAMES  by  the  stairs  from  above,  limping.) 

HENRY.     (Goes  up  R.    To  JAMES)     See  here. 

JAMES.  I  beg  pardon,  Mr.  Waterman,  I've  come 
to  give  notice  and 

HENRY.  No,  you  haven't.  You've  come  to  take 
notice.  I  saw  you  first.  You  move  in  the  morning. 

JAMES.    The  cook  goes  too,  sir. 

HENRY.     Quite  right.    The  cook  goes  too. 

JAMES.    And  I  want  to  say,  sir 

HENRY.  (Coming  down)  Not  to  me.  That's  all 
—  (Turns)  unless  somebody  else  wants  to  go.  (To 
BRADFORD)  Any  more  of  'em? 

BRADFORD.      (At  table)     I  think  not.     But  I'm 


68  THE  OTHER  GIRL 

very  sorry,  Mr.  Waterman,  that  James  is  hurt.  I'm 
sorry — 

HENRY.  (Interrupting  and  to  JAMES)  Go. 
You  did  perfectly  right,  Doctor. 

JAMES.    Very  well,  sir.     (Goes  down  stairs) 

HENRY.  (To  door.  In  a  whisper)  He's  limp 
ing. 

BRADFORD.  The  small  of  his  back  and  one 
hip  .  .  . 

HENRY.  (In  a  hungry  smile)  What'd  you  do  to 
him? 

BRADFORD.  (Walking  down-stage  and  up  around 
table)  I  used  physical  force  when  for  years  I've 
been  counselling  only  passive  resistance.  I  fear 
that  the  time  spent  under  Mr.  Sheldon  has  been  a 
mistake  in  every  way.  I  was  sure  of  my  self-con 
trol,  I  thought,  but  when  I  felt  James  using  his 
strength  on  me  everything  that  I'd  practiced  with 
Sheldon  seemed  to  rush  to  my  finger  tips.  I'm 
thankful  that  I  didn't  strike  the  poor  fellow. 

HENRY.    What  did  you  do  ? 

BRADFORD.  (L.  c.)  I  applied  a  chin  and  elbow 
tackle  that  Mr.  Sheldon  favors  very  much.  It  was 
astonishing  to  note  the  leverage  it  affords. 

HENRY.     Throw  him? 

BRADFORD.  (Going  down  R.)  I  regret  to  say 
nearly  across  the  round  table  0:1  the  porch  there. 
(Nods  towards  audience) 

HENRY.  (In  glee)  Why,  Cliff,  shake !  I  knew 
that  seminary  couldn't  spoil  a  good  man.  But  what 
was  it  about? 

BRADFORD.  I  don't  know.  Miss  Fulton  found 
herself  locked  out  on  the  porch.  She  seemed  in 
such  terror  and  difficulty  that  I  didn't  wait  to  go 
downstairs  but  simply  dropped  from  the  window. 
Just  then  the  cook  came  up  from  the  garden  and 
James  unlocked  the  dining-room  door.  The  cook 
took  charge  of  the  young  woman  who  was  incoher- 


THE  OTHER  GIRL  69 

ently  hysterical  and  led  her  upstairs.  When  I  at 
tempted  to  follow,  James  took  hold  of  me. 

HENRY.  (Slowly)  Why,  they  must  have 
thought  that — (Pause) 

BRADFORD.  (D.  c.  Pause)  They  did.  They  still 
think  so. 

HENRY.  And  the  Fulton  girl  didn't  say  any 
thing  ? 

BRADFORD.  (Shaking  head)  She'd  gone  with  the 
cook. 

HENRY.  The  cook  came  up  from  below,  you 
say  ? 

BRADFORD.    Yes. 

HENRY.  (Smiling)  As  James  unlocked  the 
door. 

BRADFORD.  As  he  unlocked  what  was  left  of  the 
door. 

HENRY.  "  Left  of  the  door " — what  do  you 
mean?  (The  smile  fades) 

BRADFORD.  The  young  lady  had  kicked  in  most 
of  the  lower  part  of  it. 

HENRY.  "Kicked  in?"  (BRADFORD  nods) 
Those  back  doors  in  the  dining-room? 

BRADFORD.    With  the  diamond-shaped  sash. 

HENRY.  Why,  Mattie  brought  those  doors  from 
Rome. 

BRADFORD.     Yes. 

HENRY.  Confound  the  little  idiot,  couldn't  she 
wait  a  minute. 

BRADFORD.  She  gave  a  distinct  impression  of  im 
patience.  Even  after  I'd  come  to  her  assistance  she 
continued  to  kick  in  an  occasional  glass. 

HENRY.     Why  didn't  you  stop  her? 

BRADFORD.  I  did  finally.  I  think  it  was  my  ef 
forts  in  that  direction  that  misled  the  cook  and — 
and  James. 

HENRY.  Well,  of  course ;  it  must  have  looked  as 
if  she  was  trying  to  get  away  from  you. 


70  THE  OTHER  GIRL 

BRADFORD.     It  did  look  that  way. 

HENRY.    And  then  you  tried  to  follow  her? 

BRADFORD.  Yes,  to  make  her  dissipate  that  im 
pression.  (Walks  L.  ) 

HENRY.    And  James  said  "  No,  no." 

BRADFORD.     Substantially  "  no,  no." 

HENRY.  (Folloiving  R.  Pause  and  smiles) 
Show  me  how  you  "  took  "  him,  Cliff. 

BRADFORD.  (Dozvn  R.  Reluctantly)  Oh,  I  just 
pressed  his  right  elbow  against  his  body  with  my 
left  hand  this  way — then  I  half  turned  and  put  my 
right  foot  behind  his — left  toot  so — 

HENRY.     Yes. 

(Enter  MAGGIE.) 

BRADFORD.  Then  the  palm  of  my  right  hand  un 
der  his  chin  so — (Seeing  MAGGIE,  stops) 

HENRY.  (Holding  the  position)  Yes — (Pause) 
And  then? 

MAGGIE.  (In  doorway)  Pardon,  sir — There's  a 
man  downstairs  from  the  noosepaper. 

HENRY.  (Goes  up  R.  c.)  A  reporter?  What's 
he  want? 

MAGGIE.  He  wants  to  see  Dr.  Bradford  and 
Miss  Fulton's  father,  sir.  (Pause.  HENRY  and 
BRADFORD  look  at  each  other)  What'll  I  tell  him, 
sir? 

HENRY.     Tell  him  Doctor  Bradford's  retired. 

BRADFORD.  (Crosses  L.  c.)  No.  Let's  not  make 
another  mistake. 

HENRY.  Doctor  Bradford'll  come  down.  (Looks 
to  BRADFORD,  who  nods) 

MAGGIE.    Yes,  sir.     (MAGGIE  starts) 

BRADFORD.  Wait — (MAGGIE  stops)  Better  have 
him  come  up  here.  The  others  will  be  passing 
through  the  reception  hall. 


THE  OTHER  GIRL  71 

HENRY.  Yes — show  him  up  here.  (MAGGIE  exit. 
Pause.  The  men  regard  each  other)  Well? 

BRADFORD.     (At  table)     I  expected  it. 

HENRY.    You  think  it's  about  this  busines  ? 

BRADFORD.  What  else?  "To  see  Doctor  Brad 
ford  or  Miss  Fulton's  father." 

HENRY,     (c.)     How  does  he  know  about  it? 

BRADFORD.  Oh,  the  servants.  The  other  items 
probably  went  by  the  same  channel. 

(Enter  MAGGIE  and  TAYLOR.) 

TAYLOR.     (Coming  down  c.)     Good-evening. 

BRADFORD.    How  do  you  do  again  ? 

HENRY.     (R.  c.)     Have  a  chair. 

TAYLOR,  (c. )  Thank  you.  We've  had  a  tele 
phone  from  the  police  station  saying  that  Miss  Ful 
ton  had  been — 

BRADFORD.  (L.  c.  Interrupting)  Not  a  word  of 
truth  in  it.  Mr.  Taylor.  The  young  lady  is  of  a 
very  nervous  and  excitable  temperament.  She 
thought  for  the  moment  only  that  she  had  been 
locked  out  of  doors.  It  was  dark,  she  was 
,1 


alone 

TAYLOR.    And  the  Kid  came  to  her  assistance? 

BRADFORD.     (Cross  R.  c.)     Who? 

TAYLOR.     (To  table)     The  Kid. 

HENRY.  (Smiling)  That  was  Doctor  Bradford. 
But  don't  say  anything  about  that  side  of  it  now, 
Mr.  Taylor,  for  me.  You  say  you're  kindly  dis 
posed.  Here's  the  time  to  show  it. 

TAYLOR.  (Sits  at  table)  Very-  well.  Only  tell 
me  the  story.  Where  does  Dr.  Bradford  come  in  ? 

HENRY.  The  man  was  impertinent — he  didn'\ 
mean  to  be,  but  that  doesn't  matter,  I've  discharged 
him.  The  Doctor  took  the  man's  right  elbow 
this  way — stand  up  a  minute.  (TAYLOR  stands  and 
HENRY  gladly  illustrates  the  tackle)  his  right  elbow 


72  THE  OTHER  GIRL 

in  the  doctor's  left  hand  and  then  the  doctor's  right 
palm  under  the  fellow's  chin  this  way  and  heave ! 
There  you  are. 

TAYLOR.  Then  the  machine  didn't  run  over  him 
at  all? 

BRADFORD.     (R.  c.)     How's  that? 

TAYLOR.  Was  this  after  the  automobile  struck 
him? 

HENRY.     ( c. )     Automobile  ? 

TAYLOR.  Yes,  the  police  said  the  machine  passed 
completely  over  him  and  that  the  kid  refused  to 
stop.  A  bycycle  policeman  chased  the  Kid  and  had 
to  fire  two  shots  at  him. 

BRADFORD.  I  know  nothing  of  any  automobile  in 
cident. 

TAYLOR.  I  only  got  it  over  the  'phone — but  my 
information  is  that  Kid  Garvey  and  Miss  Catherine 
Fulton  are  in  the  police  station  now — and  that  a 
man  whose  identity  is  unknown  is  in  the  hospital 
with  injuries  inflicted  by  the  Kid's  automobile. 

BRADFORD.    Miss  Fulton  and  "  The  Kid,"  absurd ! 

TAYLOR.  It  caught  me  all  right,  because  I'd  seen 
the  Kid  here  with  his  machine  this  evening  and  I 
knew  Miss  Fulton  was  visiting  here.  Two  things 
the  police  didn't  know.  Must  be  something  in  it. 
But  I  don't  want  to  write  a  line  until  I've  given  the 
young  lady's  friends  a  chance. 

HENRY.  (To  BRADFORD)  What  do  you  make  of 
it? 

BRADFORD.  Some  other  Fulton — or  Sheldon  may 
have  given  that  name  instead  of  the  real  name  of 
some  lady  with  him. 

HENRY.     (To  TAYLOR)     Miss  Catherine  Fulton? 

TAYLOR.    Miss  Catherine  Fulton  of  Philadelphia. 

HENRY.  (To  BRADFORD)  You  sure  she  went 
upstairs  with  the  cook? 

BRADFORD.    Reasonably  certain. 


THE  OTHER  GIRL  73 

HENRY.  (Crosses  R.)  Wait  a  minute  and  I'll 
send  up  and  see.  (Rings) 

TAYLOR.  (To  BRADFORD)  But  you  were  along, 
you  say  ? 

BRADFORD.    I  ?    Along  ?    No,  I  didn't  say  that. 

TAYLOR.  Then  what  man  was  it  you  took  by  the 
elbows  and  chin  ? 

BRADFORD.  (Going  up  c.)  Oh,  that  was  a  per 
sonal  matter. 

TAYLOR.     (  L.  c. )     Don't  you  care  to  talk  about  it  ? 

BRADFORD.     Xo,  thank  you.     (Goes  R.) 

(Enter  MAGGIE.) 

MAGGIE.     You  rang,  sir? 

HENRY.  Yes,  go  upstairs — to  Miss  Fulton's 
room  and  say  that  I  wish  to  know  how  she's  feel 
ing  now. 

(Voice  of  MRS.  WATERMAN  below.) 

MAGGIE.  Yes,  sir.  (Gazes  sternly  at  BRADFORD 
and  goes) 

MRS.  WATERMAN.  (Heard  below)  Why,  I 
bought  them  in  Rome.  They  were  from  one  of  the 
Palaces  of  the  Medici. 

FULTOX.     (Also  outside)     Deplorable  incident. 

HENRY.  Here's  Mr.  Fulton  now.  (Goes  into 
hall) 

MRS.  WATERMAX.  (Off,  but  approaching) 
Why,  Henry,  have  you  seen  those  dining-room 
doors  ? 

(BRADFORD    walks   with   grim    amusement    to    the 
mantel.) 

HENRY.  Sh — my  dear — one  moment.  There's  a 
call. 


74  THE  OTHER  GIRL 

MRS.  WATERMAN.  Anything  else  in  this  house 
rather  than  those  Medici  doors.  (Appears) 

( FULTON  follows  and  goes  L.) 

HENRY.  (L.  c.)  Sh — Sh — Come  in,  my  dear. 
This  is  Mr.  Taylor,  Mrs.  Waterman.  Mr.  Taylor 
of  the  "  Times." 

(TAYLOR  bows.) 

MRS.  WATERMAN,  (c.  Haughtily)  Oh,  indeed. 
(Starts  toward  TAYLOR) 

BRADFORD.  (Interposing.  Quickly)  Mr.  Tay 
lor's  been  very  kind,  Mattie,  in  some  little  matters ; 
and  he's  called  again  with  a  wish  to  help  me  still 
further.  Mr.  Fulton — Mr.  Taylor — (Introducing 
them)  Sit  down,  Mattie,  there's  something  to  con 
sult  about — (Motions  the  others  to  sit) 

(Enter  MAGGIE  from  upstairs.) 

MAGGIE.  Miss  Fulton  says  she's  some  better, 
thank  you. 

(HENRY  turns  to  TAYLOR  at  this  testimony.) 

TAYLOR.  (Down  L.  c.,  and  unconvinced)  Did 
you  see  her? 

MAGGIE.    No,  sir — she  didn't  open  the  door. 

FULTON.     (Up  L.  c.    Anxiously)     Catherine? 

MRS.  WATERMAN.  (To  BRADFORD  R.)  What's 
the  matter? 

BRADFORD.     One  moment — That  will  do,  Maggie. 

(MAGGIE  bows  and  goes.) 


THE  OTHER  GIRL  75 

MRS.  WATERMAN.  What  is  it,  Henry?  Speak! 
Did  they  break  in  by  the  dining-room? 

BRADFORD.     My  dear,  Mattie — (Pause) 

FULTON.     (An.rioitsly)     Is  Catherine  hurt? 

HENRY.  (R.  c.  Soothingly)  There's  nothing 
the  matter  anywhere — with  anybody. 

MRS.  WATERMAN.  (Maintaining  the  pressure) 
But — those  dining-room  doors — Mr.  Fulton  saw 
those.  (Appeals  to  FULTON) 

BRADFORD.  (Down  R.)  That  was  a  little  acci 
dent,  rather  incident — which  I'll  explain,  Mattie. 
The  question  before  us  now  is  a  foolish  report  from 
the  police  that  Miss  Catherine  had  been  arrested  for 
fast  driving  in  an  automobile. 

FULTON.  (Up  c.  Easily,  to  TAYLOR)  Oh — no 
—no — nothing  in  that.  Our  automobile  is  in  Phila 
delphia  and  my  chauffeur  has  positive  orders  from 
me  regarding  the  speed  at  all  times. 

HENRY.  As  I  understand  it,  it's  this  chap  Shel 
don  who  has  been  training  Doctor  Bradford — 

BRADFORD.  Henry!  Instructing!  Instructing! 
(Up*.) 

HENRY.  I  meant  instructing.  He  has  an  auto 
mobile  and  he  had  some  woman  in  it  this  evening. 
They  were  both  arrested  and  he  gave  her  name  as 
Miss  Fulton — (To  TAYLOR)  Isn't  that  it? 

(TAYLOR  nods.) 

FULTON.  (Smiling)  Fulton's  a  fairly  common 
name. 

HENRY.     (Tossing  the  matter  off)    To  be  sure. 

TAYLOR.  (With  reportorial  insistence)  But  this 
girl  is  supposed  to  be  Miss  Catherine  Fulton  of 
Philadelphia. 

FULTON.     You  sure,  sir.     Why  that  supposition? 

TAYLOR.  Because  she  had  a  bag  with  her  with 
a  set  of  silver  toilet  articles  engraved  "  Catherine 


76  THE  OTHER  GIRL 

Fulton  ";  and  some  jewelry  and  the  bag  had  a  tag 
"  C.  R,  Philadelphia." 

FULTON.  Catherine's  bag  is  fitted  with  engraved 
articles — perhaps — 

(MRS.  WATERMAN  crosses  to  BRADFORD,  who  pan 
tomimes  silence.) 

TAYLOR.  If  Miss  Fulton  is  here — why  can't  I 
see  her  a  minute 

FULTON.  She's  retired,  sir — why  should  you  see 
her? 

TAYLOR.  That'll  be  the  first  question  my  chief '11 
ask  me — "  Why  didn't  you  see  the  girl,  herself." 
Now,  suppose  I  write  about  it  and  say  we  all  "  held 
this  convention  "  here  in  the  library  but  that  you 
wouldn't  produce  the  girl? 

FULTON.     Why  should  you  write  about  it? 

TAYLOR.  Why  does  a  chicken  cross  the  street? 
I've  got  to  write  about  it.  That's  my  business. 

MRS.  WATERMAN.  (Starting  over  L.  at  TAYLOR. 
With  crushing  dignity)  Are  you  the  man  that 
wrote  about  my  brother  and  said  he  was  dining  with 
a  prize  fighter  at — 

BRADFORD.  (Catching  her  arm  and  returning  R.) 
Mattie — one  moment — (Takes  her  aside  and  ex 
plains — she  gradually  becomes  dazed  with  the 
knowledge  he  imparts) 

HENRY.  (To  FULTON)  It  can't  do  any  harm. 
(They  hesitate) 

(Enter  ANN,  the  cook,  by  the  stairs  from  above.) 

ANN.  (Boldly)  Mrs.  Waterman,  can  I  see  you 
privately  ? 

HENRY.     (Up  R.  c.)     No. 

ANN.  Oh — (Pause — Dismisses  HENRY  with  a 
look  and  gives  a  parting  shaft)  Oh,  Mr.  Fulton, — 


THE  OTHER  GIRL  77 

you'd  better  be  with  that  poor  child  of  yours  up 
stairs 

FULTOX.     What ! 

( FULTOX  exit — goes  upstairs.) 

HEXRY.    You  go  to  the  kitchen. 

Axx.  I'm  through  with  your  kitchen,  and  I'm 
through  with  your  house.  I'll  have  you  know  m'am 
that  I  leave  in  the  morning.  (Axx  goes  bclo^^) 

(BRADFORD  restrains  MRS.  WATERMAN.) 

HEXRY.  (Down  c.)  You  a  married  man,  Mr. 
Taylor  ? 

TAYLOR.     Xot  for  mine.     (Goes  L.) 

HEXRY.  (Also  smiling)  Then  you  know  noth 
ing  of  this  problem — (Nods  towards  Axx) 

(Enter  MAGGIE.) 

MAGGIE.    Pardon,  sir. 

HEXRY.     (L.  c. )     What  is  it,  Maggie? 

MAGGIE.  The  wrestling  teacher  for  Doctor  Brad 
ford. 

BRADFORD.     (R.  c.)     Mr.  Sheldon. 

MAGGIE.    Yes,  sir. 

TAYLOR.     Can't  /  see  him  for  you  ? 

HEXRY.  Oh !  I  guess  we'd  better  all  see  him  to 
gether.  (TAYLOR  acquiesces) 

MAGGIE.     What'll  I  say,  sir? 

(Enter  FULTOX.) 

BRADFORD.     Ask  Mr.  Sheldon  to  come  up  here. 
(Exit  MAGGIE.) 

FULTOX.  (c. )  My  daughter  will  join  us  as  soon 
as  she  arranges  her  hair.  She's  been  lying  down.  I 
said  that  we'd  excuse  her  appearing  somewhat  dis 
hevelled?  (To  OMXES) 

MRS.  WATERMAN.     (Down  R.  )     Why,  of  course. 


78  THE  OTHER  GIRL 

I  think  it  a  great  shame  to  make  the  poor  girl  come 
down  at  all. 

HENRY.  (Crosses  to  MRS.  WATERMAN)  Now, 
Mattie— 

BRADFORD.     (R.  c.)     Come  in,  Mr.  Sheldon. 

(Enter  KID,  he  pauses  up-stag e.) 

BRADFORD.     Come  in,  Mr.  Sheldon. 

KID.  (Seeing  TAYLOR)  Hello,  Beau — some 
thing  doing? 

TAYLOR.    Heard  you  ran  over  a  man. 

KID.     (Smiling)     That's  right. 

TAYLOR.     Who  was  the  girl  with  you? 

KID.     What  girl?     (Gives  him  the  wink) 

TAYLOR.  Oh,  I've  told  these  persons  about  it. 
The  police  'phoned  her  name  down  the  line. 

KID.  (Seriously)  Did— eh?  Well,  say— I'm 
sorry  for  that. 

TAYLOR.  (Suspiciously)  What  are  you  doing 
here — in  this  house? 

KID.  Well — a  fellow  needs  some  help,  don't  he— 
when  he's  pinched.  I — I  want  to  see  Dr.  Bradford. 

BRADFORD.  I'm  at  your  service,  Mr.  Sheldon,  of 
course. 

KID.  (Going  to  BRADFORD  R.  c.)  I  thought  I 
could  count  on  you,  Doctor. 

(CATHERINE  appears  in  loose  gown.) 

FULTON.  (Meeting  CATHERINE)  Here  is  my 
daughter,  sir.  Come  in,  Catherine. 

MRS.  WATERMAN.  Why,  Catherine,  dear.  (Goes 
to  her,  meets  her  up  c.) 

FULTON.  (Displaying  CATHERINE.  To  KID) 
This  young  lady  was  not  in  your  automobile,  was 
she? 


THE  OTHER  GIRL  79 

KID.  (With  significant  emphasis)  No,  sir,  she 
wasn't. 

FULTON.  (To  TAYLOR)  This  is  my  daughter, 
sir — Miss  Catherine  Fulton  of  Philadelphia.  (To 
KID)  You  never  even  saw  the  young  lady  before, 
did  you  ? 

KID.  (Tactfully)  Oh,  I've  seen  her ;  yes — up  at 
the  windows — and  that  way— 

FULTON.  Did  you  tell  the  police  that  the  young 
lady  with  you  was  Miss  Fulton  of  Philadelphia? 

KID.  (In  disgust)  Tell  the  Police!  Tell  noth 
ing. 

TAYLOR.     Who  was  the  girl  with  you,  Kid 

KID.  (With  meaning)  Oh,  a  little  friend  of 
mine — and  the  Doctor's — You  know, — Myrtle. 

TAYLOR.     Myrtle. 

KID.     Yes,  Myrtle. 

TAYLOR.  The  sergeant  said  she  had  some  silver 
v.-ith  Miss  Fulton's  name  on  it — 

KID.  (Eagerly,  crossing  to  TAYLOR  down  L.) 
Say!  That  was  a  funny  throw  too — I  took  some 
bundles  of  mine  away  from  this  house  to-night — • 
and  I've  got  a  bag  just  like  that  one  on  the  outside. 
You  see  it  was  a  mistake. 

FULTON.    Quite  probably.     (Smiles) 

KID.  The  desk  sergeant  opened  this  bag.  Every 
thing  in  it  had  Miss  Fulton's  name  on  it  and  it  was 
the  sergeant  himself  said  Miss  Fulton.  The  lady 
with  me  was  scared  stiff  because  the  fellow  we  ran 
over  they  took  away  in  the  "  hurry  up." 

FULTON.  (To  TAYLOR,  in  triumph)  But  the 
young  lady  was  not  Miss  Catherine  Fulton  of  Phila 
delphia. 

TAYLOR.    So  I  see. 

FULTON.     So  you  see. 

HENRY.  (Going  L.  c.)  And  Miss  Fulton's  name 
needn't  appear  in  the  newspapers? 


So  THE  OTHER  GIRL 

TAYLOR.  (Hesitating)  Well — (Pause.  Crosses 
the  KID  to  meet  HENRY) 

MRS.  WATERMAN.  (To  CATHERINE,  still  agi 
tated.  Brings  her  down  R.  )  There,  my  dear — the 
gentleman  will  arrange  it,  I'm  sure.  (CAROLINE  sits) 

TAYLOR.  (Answering  HENRY)  Perhaps  not. 
(To  KID)  Then  I'll  'phone  the  sergeant  to  correct 
his  blotter — give  him  Myrtle's  full  name — Really 
an  ad.  for  her — why  not? 

KID.  (Down  L.)  Well,  you  see,  it's — it's  this  bag 
business,  with  the  silver  in  it.  I  'phoned  Muldoon 
and  he  fixed  bail  for  me— -but  the  young  lady  had 
the  bag — and  she  said  right  off  the  reel  that  she 
wasn't  Miss  Fulton — see — 

FULTON.  I'm  very  much  indebted  to  her,  I'm 
sure. 

TAYLOR.     But  didn't  want  to  give  her  own  name  t 

KID.  No — so  they  said :  "  Oh,  where'd  you  get 
the  bag?  "  See?  Caught  with  the  goods,  that's  all. 
(Crosses  up  c.  to  BRADFORD)  Now  if  the  Doctor'll 
go  with  me  and  say  he  knows  it's  all  right.  A 
preacher  with  his  pull — Or  take  a  letter  from  the 
—from  the  owner  of  the  bag — (Slowly  and  signifi 
cantly)  This  lady  friend  of  mine  won't  have  to 
sleep  on  a  bench. 

BRADFORD.  I  know  that  Mr.  Sheldon  took  some 
parcels  from  this  house  to-night.  I  had  them 
wrapped  up  myself. 

KID.  And  I've  got  a  bag  just  like  this  on  the 
outside — but  you  see  this  bag  happened  to  have 
some  jewelry  in  it.  Diamonds  and  Emeralds. 

FULTON.  (In  some  excitement)  Catherine's 
jewels  also ! 

KID.  (Down  c.)  Oh,  they're  all  right  in  the 
Captain's  safe.  And  they'd  been  all  right  with  the 
lady — she  don't  have  to  lift  anybody  else's  sparks, 
she  don't  .  .  .  (Significantly  to  BRADFORD,  who  is 
up  R.  c.  with  FULTON)  Why,  she  had  a  twenty- 


THE  OTHER  GIRL  81 

dollar  bill  in  her  pocket  with  a  corner  burnt  off  .  .  . 

BRADFORD.     (Down  to  KID)     What  is  that? 

KID.  (c. — slewly  gives  his  significant  news  to 
BRADFORD)  My  lady  friend  that's  up  in  the  station 
had  a  twenty-dollar  bill  with  the  corner  burnt  off. 
It  was  a  bill  I  was  lighting  a  cigarette  with  and  a 
friend  of  mine  snatched  it  and  put  it  out.  He  said 
'  That  ain't  like  you,  Kid,  'cause  it's  only  showing 
off  and  there's  a  lot  of  hungry  folks  could  live  on 
that  for  a  week — so  he  hands  it  over  to  Myrtle  and 
she  put  it  in  her  pocket  and  there  it  was  when  they 
searched  her — see? 

BRADFORD.     Yes,  yes ! 

TAYLOR.  (Going  up  c.)  \Yell,  I'm  glad  to  get 
the  story  right.  I  think  I  can  keep  Miss  Fulton's 
name  out  of  it,  if  I  can  get  the  other  men  in  time — 
and  you  gentlemen  better  believe  the  Kid  took  the 
bag  by  mistake  because  a  charge  of  that  kind  won't 
help  his  business. 

BRADFORD.     Thank  you. 

TAYLOR.    Good-night. 

BRADFORD.  (Up  c.)  Good-night,  Air.  Taylor! 
You — you  know  your  way  out? 

TAYLOR.     Oh,  yes !     (Exit) 

BRADFORD.  (Down  c.  Returning)  I'll  go  with 
you,  Sheldon ! 

KID.     (c.)     Good! 

BRADFORD.  (Meaningly,  to  CATHERINE)  Write 
me  a  line,  Miss  Catherine,  saying  that  you  lent  the 
goods  to — to  this  young  lady  and  the  bag  also. 
(Takes  CATHERINE  to  table) 

FULTON.  That  seems  strange  counsel  from  a 
clergyman,  Doctor  Bradford. 

BRADFORD.  (At  table  with  CATHERINE)  True- 
it  might  be  better  to  put  the  note  in  the  present 
tense  and  say  the  young  lady  "  has "  Miss  Cath 
erine's  permission  to  their  use. 

FULTON.     (Up  L.  c.)     But  why  that? 


82  THE  OTHER  GIRL 

BRADFORD,  (c.)  We  recover  the  jewels;  and 
with  them  out  of  the  case  entirely  it  keeps  Miss 
Catherine's  name  out  of  print. 

FULTON.  As  the  victim  of  a  theft  I'm  quite 
willing  that  Catherine's  name  should  appear  in  print 
— you  stole  those  jewels,  sir!  (Crosses  to  KID) 

KID.  Go  slow,  governor — go  slow !  (HENRY  in 
terposes) 

MRS.  WATERMAN.  He  broke  in  through  my  din 
ing-room  door — a  door  that  I  bought  from— 

HENRY.  (Returning  to  his  wife)  Now, 
Mattie— 

KID.  (Amused)  I'm  no  porch  climber,  you 
know ! 

FULTON.  I  don't  know !  You're  a  saloon-keeper 
and  a  professional  pugilist,  aren't  you? 

KID.    Am  I 

FULTON.  You're  Kid  Garvey,  the  prize  fighter, 
aren't  you  ? 

KID.  (c.)  Oh,  yes,  I'm  called  Kid  Garvey  on 
the  bills.  (He  watches  CATHERINE  for  the  effect  of 
his  words) 

CATHERINE.  (Goes  to  MRS.  WATERMAN)  Mrs. 
Waterman — 

MRS.  WATERMAN.  (As  CATHERINE  weeps  in  her 
arms)  Mr.  Fulton,  we're  frightening  Catherine 
dreadfully ! 

KID.  R.  c.  To  BRADFORD)  You  know  this  ain't 
any  holiday  for  me,  Doctor.  The  reason  I'm  here 
now  is  to  put  it  up  to  you  to  do  the  best  we  can  for 
everybody,  especially  the  lady  in  the  cooler.  It's  a 
nine  o'clock  call  in  the  police  court  to-morrow,  see? 
So  there's  a  whole  lot  to  do  to-night! 

CATHERINE.  (With  resolution)  I'll  write  the 
letter,  Doctor. 

FULTON,  (c.)  Pardon  me,  my  daughter,  you 
will  not. 


THE  OTHER  GIRL  83 

BRADFORD,  (c.  Positively)  It  is  quite  necessary 
that  she  should,  Mr.  Fulton,  and  at  once!  Kid! 

KID.     Doctor ! 

BRADFORD.  (Comes  c.)  I  want  you  to  tell  Mr. 
Fulton  the  true  name  of  that  young  lady  now  in  the 
station-house ! 

KID.     On  the  level  ? 

BRADFORD.     On  the  level. 

KID.     (Pa-use)     It's  Miss  Kittredge! 

MRS.  WATERMAN,  HENRY  and  FULTON.  (To 
gether)  What!! 

BRADFORD.     It  is  Miss  Kittredge  ! 

FULTON.     Did  you  kno\v  this,  Catherine? 

(CATHERINE  rests  her  hed  on  table,  weeping  vio 
lently.') 

BRADFORD.  (Pause)  Yes,  Miss  Catherine  knew 
it. 

(CATHERINE  braces  up  and  writes.) 

HENRY.    Why  didn't  you  say  so  sooner,  Cliff? 

BRADFORD.  (Going  R.  c.)  I'm  as  anxious  to 
keep  Miss  Kittredge' s  name  out  of  print  as  I  am  to 
keep  Miss  Fulton's.  I  couldn't  say  so  with  that 
"  Time's  "  man  here 

FULTON.  Estelle!  (Pause.  BRADFORD  nods) 
with  you?  (Kio  nods)  At  night,  and  arrested  for 
fast  driving!  (Kio  nods)  Where  were  you  going? 

KID.  ("  Sparring  for  wind")  I  wanted  to  sell 
her  an  automobile,  see? 

FULTON.  That  is  a  lie!  (Start  from  HENRY  and 
BRADFORD,  who  expect  trouble) 

KID.  (Up  c.  Pause)  You're  right,  governor — 
first  guess ! 

BRADFORD.  But  we  only  lose  time  by  this.  We 
must  go  to  her  assistance !  Go — not  talk ! 


84  THE  OTHER  GIRL 

KID.  (Significantly)  I  thought  you'd  feel  that 
way,  Doctor.  I've  got  the  bubble  outside  at  the 
door ! 

HENRY.  The  telephone  will  be  quicker  than  the 
automobile ! 

KID.  (Easily)  You  can't  give  bail  by  telephone! 
(Crosses  up  L.  c.) 

BRADFORD.    True — I  must  go.     (Exit  upstairs) 

HENRY.  (Going)  Wait!  I'll  telephone  Judge 
Bates  to  meet  us  at  the  station — a  little  legal  advice 
may  come  handy!  (Exit  downstairs) 

FULTON.  (R.  c.)  Why  was  Miss  Kittredge  in 
your  company,  sir?  (Pause)  Why  did  she  have 
a  bag  with  her,  with  toilet  articles  in  it?  Wliat  is 
the  meaning  of  the  whole  affair,  sir? 

KID.  (L.  c.)  You  see — I  thought  that  bag  was 
empty. 

FULTON,     (c.)     Why  take  it  at  all ? 

KID.    Well,  you  see,  governor — 

FULTON.  ( c. )  Don't  address  me  as  "  gover 
nor!" 

KID.    All  right — if  you  say  so 

(Re-enter  BRADFORD  with  coat  and  hat.) 

FULTON.    Why  take  the  bag  at  all  ? 

KID.  Well  you  see — I  generally  "  show  to  pretty 
good  business  "  myself,  and  we  wanted  something 
with  handles  on  it  to  carry  the  gate  receipts ! 

FULTON.     (Puzzled)     What ! 

BRADFORD.  We  are  losing  time,  Mr.  Fulton! 
The  first  thing  to  do  is  to  get  the  young  lady  under 
our  protection.  Come,  Kid!  (Starts) 

KID.     (Following)     With  you,  Doc? 
^  MRS.  WATERMAN.     (Calling  to  him  in  a  tremble) 
Cliff,  dear,  you  mustn't  go ! 

BRADFORD.     (Up  c.)     Why  not? 


THE  OTHER  GIRL  85 

MRS.  WATERMAN.  The  newspapers !  A  clergy 
man — a  police  station  ! 

BRADFORD.    I'm  a  man  now,  Mattie,  a  man! 

MRS.  WATERMAN.  But  you're  dressed  as  a 
clergyman. 

KID.  (Up  R.  c.  Quickly)  We'll  change  coats, 
Doctor ! 

BRADFORD.  (Misled  by  the  rush)  Yes!  (Starts 
to  change) 

(Enter  HENRY.) 

MRS.  WATERMAN.    Let  Henry  go ! 

HENRY.  (Up  c.  Announcing)  The  Juldge'll  be 
there ! 

MRS.  WATERMAN.  (Down  R.  c.)  I  tell  Cliff  he 
can't  go,  Henry ! 

HENRY.  (Up  R.  c.)  Of  course  not.  Mr.  Ful 
ton  and  I'll  be  enough.  Your  automobile  carries 
three?  (To  KID) 

KID.     (Up  c.)     Seven. 

FULTON.  With  him?  (Indicating  KID)  //"/^au 
tomobile?  Why,  sir,  you  could  hardly  have  done 
me  a  greater  wrong  if  you  had  had  my  own  daugh 
ter  arrested.  You  know,  sir,  /  ought  to  thrash  you 
within  an  inch  of  your  life. 

KID.     (With  a  joyous  laugh)     Oh — (Prolonged) 

HENRY.     (To  KID)     Come — we'll  go  alone! 

CATHERINE.     Here!     (Hands  letter  to  HENRY) 

FULTON.     What's  that? 

(Exeunt  KID  and  HENRY,  BRADFORD  urging  them 
downstairs. ) 

CATHERINE.     The  letter. 
FULTON,     (c.)     You  wrote  it? 
CATHERINE.     (Crossing  R.)     Of  course  I  wrote 
it !     Think   of   Estelle   arrested   and   in   a   station 


86  THE  OTHER  GIRL 

house!    Oh,  how  can  I  bear  it  all?     (Sinks  into  big 
chair,  weeping) 

MRS.  WATERMAN.  (Comforting)  Sh-sh — 
There,  there,  my  dear ! 

FULTON.  (Explaining  to  BRADFORD,  who  is  re 
turning)  She  loved  Estelle  like  a  sister! 

BRADFORD.     I  see.     (Goes  below  the  table  L.) 

FULTON.  (L.  c.  Confidentially)  The  older  I 
get,  Doctor,  the  more  I  become  converted  to  the 
English  idea  that  "  blood  will  tell." 

BRADFORD.     I  thought  that  was  a  Kentucky  idea ! 

FULTON.  Perhaps — but  excellent  notwithstand 
ing  !  Kitteridge — Kitteridge  was  an  old  soldier — 

BRADFORD..  Miss  Estelle's  father? 

FULTON.  Yes — had  all  the  sturdy  qualities — but 
lacked,  if  I  may  say  so,  just  a  trifle  in — in  refine 
ment.  There  was  just  that  shade  of  difference  be 
tween  a  cultured  cosmopolitan  and  Colonel  Kitter 
idge  that  I  fancy  I  have  observed  between— be 
tween  the  two  girls.  Just  enough  difference  to  ex 
plain  this — this  unfortunate  escapade. 

BRADFORD.  (With  meaning)  Yes — you  think 
perhaps  that  the  inherited  difference  accounts  for 
the  whole  affair? 

FULTON.  (Cautiously  regarding  CATHERINE) 
Exactly.  Catherine  is  engaged  to  Mr.  Lumley—- 
Estelle  goes  away  with  this  prize-fighter — 'm? 
There  you  are! 

BRADFORD.     (Annoyed)     Yes,  yes ! 

FULTON.  But  perhaps  Estelle  didn't  know  he 
was  a  prize  fighter. 

BRADFORD.     Oh,  yes,  she  knew — I  told  her ! 

FULTON.     Indeed?    Well,  there  you  are! 

(Enter  MAGGIE.) 

MAGGIE.  Mr.  Lumley,  ma'am.  I  told  him  you 
were  all  in  the  library.  He  wants  to  come  up! 


THE  OTHER  GIRL  87 

MRS.  WATERMAN.     Very  well,  ask  him ! 

BRADFORD.  (Cross  L.  c.  Interrupting)  Wait ! 
Hadn't  you  better  ask  Mr.  Lumley  to  excuse  us, 
Mattie? 

MRS.  WATERMAN.     Why? 

BRADFORD.  (To  MRS.  WATERMAN)  Henry  will 
probably  bring  Miss  Kitteridge  back  in  a  few  min 
utes. 

MRS.  WATERMAN.     Well? 

BRADFORD.  Isn't  it  advisable  to  say  nothing  of 
this  deplorable  automobile  business — to  anybody — • 
even  Lumley — perhaps,  especially  Lumley? 

CATHERINE.     (Quickly)     Yes! 

MRS.  WATERMAN.  Then  ask  Mr.  Lumley  to  ex 
cuse  us,  Maggie — say  the  ladies  are  not  feeling  very 
well — and  that  they  will  be  glad  to  see  Mr.  Lumley 
to-morrow,  'm  ? 

(CATHERINE  nods.) 

MAGGIE.    Yes  Ma'am.     (Exit) 

FULTON.  Don't  you  wish  to  go  down  alone  for 
a  moment  to  see  Mr.  Lumley  yourself,  Catherine 
dear? 

CATHERINE.     Oh  no. 

FULTON.  He  spoke  of  you  so  frequently  nt  the 
concert.  You  know,  my  dear,  a  young  lady  can't 
presume  too  much  upon  the  devotion  of  a  suitor 
nowadays. 

MRS.  WATERMAN.  Reggie's  devotion  will  stand 
the  strain,  Mr.  Fulton,  I'm  sure.  Besides,  I'm  a 
little  cross-patch  with  Reggie  myself  for  running 
away  from  us  so  long. 

FULTON.  (Bowing)  Ah — if  it's  your  discipline, 
M rs.  Waterman — I've  no  more  to  say. 

(Enter  M  AGGIE.) 

MAGGIE.  Beg  pardon,  Ma'am,  but  he  says  he 
must  see  you,  just  a  minute. 


88  THE  OTHER  GIRL 

MRS.  WATERMAN.    Must  see  us? 

MAGGIE.  Yes,  ma'am.  Beg  pardon,  ma'am,  but 
he  does  look  to  be  drinking. 

MRS.  WATERMAN.  Drinking — to  have  been 
drinking  ? 

FULTON.     Impossible. 

MRS.  WATERMAN.  (Crossing  L.  c.)  He  some 
times  did  when  he  was  younger — drinking,  Mag 
gie? 

MAGGIE.  Yes  ma'am,  and  pardon,  ma'm,  but 
there's  that  smell  of  liquor  to  him  besides — that 
fills  the  reception  room. 

MRS.  WATERMAN.  You  said  we  wished  to  be  ex 
cused. 

MAGGIE.    Yes  ma'm. 

FULTON.  (Crosses  to  CATHERINE)  Perhaps 
Catherine  and  I  had  better  go  see  his  together. 

CATHERINE.    I  can't  see  him,  father. 

FULTON.    Why  not,  my  dear? 

CATHERINE.  My  gown!  And — and  look  at  my 
face. 

FULTON.    Your  face  is  all  right. 

BRADFORD.  I'm  sure  that  is  all  Mr.  Lumley  con 
siders. 

MRS.  WATERMAN.  But  if  Reggie  Lumley's  been 
drinking 

LUMLEY.  (Appearing)  Beg  pardon,  Mrs.  Wat 
erman — he  hasn't  but — (LUMLEY'S  dress-suit  is 
soiled  and  torn — his  shirt  also.  The  left  arm  is  in  a 
sling) 

CATHERINE.     Oh ! 

MRS.  WATERMAN.     Mr.  Lumley  ! 

FULTON.     What  has  happened? 

LUMLEY.  Excuse  my  following  your  maid  up 
stairs.  I  feared  my  friends  might  be  anxious  about 
me,  so  in  spite  of  all  the  doctors  could  say— 

MRS.  WATERMAN.  (She  goes  sympathetically  to 
LUMLEY)  Are  you  hurt? 


THE  OTHER  GIRL  89 

LUMLEY.  —I  left  the  hospital  and  took  a  four- 
wheeler — 

FULTOX.     Hospital ! 

LUMLEY.  (He  has  a  greet  pride  in  his  experi 
ence  and  talks  in  a  post-ether  falsetto_af-&xaltation) 

CATHERINE.     Oh !  "| 

FULTOX.     Ran  over  you?  >  (Together 

MRS.  WATERMAN.    Did  you  ever !  J 
Yes — an  automobile  run  over  me,  .Kear  the  theatre^/ 

BRADFORD.  (Assisting  him)  No  injuries,  I 
hope  ? 

LUMLEY.  (Touching^  arm  in  sling)  Slight 
sprain  and  contusion  of  the  left  radius  and  some 
contusions  and  sprains  elsewhere — but  of  course  I 
feel  the  shock  you  see. 

(BRADFORD  puts  him  in  easy  chair.) 

CATHERIXE.  (Who  has  been  very  agitated — in 
a  burst  of  contrition)  Oh,  Reginald — Reginald — 
forgive  me — what  a  wicked  girl  I've  been.  (Kneels 
by  him  R.  of  chair) 

LUMLEY.  Nonsense — how  could  you  know  I'd 
get  in  front  of  an  automobile — and  it  was  the  stu 
pidest  music  we've  had  all  summer — wasn't  it? 
(To  MRS.  WATERMAX) 

CATHERIXE.  Look  at  him,  Mrs.  Waterman. 
Oh,  Reginald,  I  never  knew  how  much  I  really 
loved  you  until  this  moment. 

FULTOX.     My  dear  Catherine. 

BRADFORD.  (R.  c.  Aside  to  MRS.  WATERMAN). 
Finesse  ? 

MRS.  WATERMAN.     Certainly  not — stupidity. 

LUMLEY.  Now  don't  do  that,  Catherine  darling. 
(To  BRADFORD)  Isn't  it  splendid?  Wouldn't  you 
be  run  over  a  few  times  for  this? 

CATHERIXE.  (Rising)  Why  did  you  leave  the 
hospital  when  you  were  so  hurt? 


9o  THE  OTHER  GIRL 

LUMLEY.  I  wanted  to  save  you  from  any  'worry, 
you  see.  I'm  all  right.  It's  only  the  shock. 

BRADFORD.  (Down  c.)  There  must  be  consid 
erable  pain. 

CATHERINE.    Dear  Reginald. 

LUMLEY.  No — I  was  unconscious  most  of  the 
time.  All  right  now.  But  I  didn't  want  Catherine 
to  worry.  I  knew  she  wouldn't  understand  my  not 
coming  back  to  the  concert. 

MRS.  WATERMAN.     Of  course  not. 

LUMLEY.  (To  CATHERINE)  Why,  you  have 
been  crying — haven't  you? 

CATHERINE.     Yes — I've  been  crying,  but — 

LUMLEY.  Think  of  it.  Well,  don't  any  more, 
please — because  I'm  all  right — in  every  way — 
(Sniffs)  I  smell  dreadfully,  don't  I?  (To  MRS. 
WATERMAN  left  of  chair) 

MRS.  WATETMAN.  (Qualifying  it)  Not  dread 
fully — no,  Reginald. 

LUMLEY.  They  do  put  such  weird  stuff  on  you 
while  you're  unconscious.  (Sniffs)  It  was  quite 
noticeable  in  the  four-wheeler. 

CATHERINE.  (To  MRS.  WATERMAN)  He 
doesn't  think  of  himself  at  all. 

BRADFORD.  How  did  it  happen?  Where  were 
you? 

LUMLEY.  Near  the  theatre.  I  was  crossing  the 
street  to  the  telephone — to  telephone  to  you  and  this 
automobile  struck  me.  I  remember  only  the  lights 
and  the  buildings  mixing  up  together  and  then  a 
doctor  saying  in  a  very  loud  voice :  "  That  will  do. 
He  swallowed  it." 

CATHERINE.  (To  MRS.  WATERMAN)  Medicine, 
I  suppose. 

LUMLEY.  I  suppose  so.  I  thought  at  first  that 
he  meant  I'd  swallowed  the  building.  But  as  soon 
as  I  could  catch  my  breath  I  knew  he  meant  the 


THE  OTHER  GIRL  91 

electric  lights — the  hottest  stuff!  (Indicates  throat 
and  chest) 

CATHERINE.  He  can  joke  about  it !  Think  of  it, 
Mrs.  Waterman.  Oh,  please  forget  everything  I 
said  on  the  porch.  (On  MRS.  WATERMAN'S  breast. 
Up  R.  above  chair) 

BRADFORD.  They  arrested  the  man  in  the  auto 
mobile,  no  doubt? 

LUMLEY.  So  I'm  told  and  a  lady  with  him.  I've 
got  to  go  to  the  police  court  in  the  morning  they 
said. 

BRADFORD.  Do  you  intend  to  prosecute  the  per 
sons?  (Goes  to  LUMLEY) 

LUMLEY.  Rather !  I  own  an  automobile  myself 
and  I'm  decidedly  against  these  careless  fellows 
that  spoil  the  sport.  Speed  in  the  country  if  you 
want  to 

BRADFORD.  A  farmer  or  two  don't  matter.  (Re 
turns  L.  c.) 

LUMLEY.  But  a  gentleman  giving  a  box 
party— 

BRADFORD.     Of  course. 

CATHERINE.  (To  MRS.  WATERMAN)  Oh,  why 
didn't  I  go  with  you? 

LUMLEY.  If  it  isn't  safe  to  go  out  of  a  theatre 
between  the  acts 

FULTON..  In  horror  to  BRADFORD)  And  to  think 
that  man  was  Reginald. 

LUMLEY.     Did  you  see  it? 

FULTON.     No — but 

BRADFORD.    We  heard  of  it. 

LUMLEY.  (Anxiously)  Didn't  interrupt  the 
performance? 

MRS.  WATERMAN.     Oh  no! 

CATHERINE.  (Displaying  him)  Did  it  interrupt 
the  performance?"  (Again  to  MRS.  WATERMAN'S 
breast) 

LUMLEY.     Marvellous  the  way  they  do  things  in 


92  THE  OTHER  GIRL 

these  hospitals — my  first  visit.  One  pretty  girl  in  a 
cap  was  at  the  foot  of  the  couch — another  pretty 
girl  in  another  cap  was  at  the  side  of  the  couch. 
Two  young  doctors  doing  everything  possible  and 
one  old  doctor  telling  them  when  they'd  done  it  too 
much.  It  seemed  almost  as  though  I  were  enter 
taining. 

BRADFORD.     It  seems  almost  that  way  now. 

LUMLEY.  Well,  the  doctor's  kept  saying,  "  don't 
talk,"  "  don't  talk,"  when  I  never  wanted  to  talk 
so  much  in  my  life.  I  don't  talk  much  as  a  rule. 

MRS.  WATERMAN.     I  know  you  don't,  Reggie. 

CATHERINE.    But  don't  talk  if  it's  bad  for  you. 

LUMLEY.  But  I've  wanted  so  much  to  talk  all 
the  time  since  I  "  came  to,"  that  after  I  escaped 
from  the  doctors  I  talked  to  myself  in  the  four- 
wheeler. 

CATHERINE.  (To  LUMLEY)  But  don't  talk  now. 
(To  others)  It's  ether  or  something  they  must 
have  given  him. 

LUMLEY.  "  Ether " — How  happy  I  could  be 
with  "  ether! " 

CATHERINE.  (To  LUMLEY)  Don't  talk,  dear. 
I  won't  let  you  talk.  Shouldn't  we  send  for  a  doc 
tor,  Mrs.  Waterman? 

LUMLEY.  I've  had  three  doctors.  Don't  send 
for  them.  Send  for  one  of  the  girls  in  the  ruffled 
caps  if  you  want  to — send  for  another  bottle  of  the 
stuff  the  fat  one  had  in  her  left  hand,  but  we  don't 
need  the  doctors.  (To  BRADFORD)  I'd  have  bitten 
that  little  fellow  with  the  black  moustache  if  I 
could  have  reached  him  (Turns  to  CATHERINE) 
but  the  fat  girl  put  her  hand  on  my  forehead — 

CATHERINE.     Please  don't  talk,  Reginald. 

(Enter  HENRY,  with  a  bag.} 
HENRY,     (c.)     Here  we  are,  Mattie— and  don't 


THE  OTHER  GIRL  93 

say  anything  to — (Sees  LUMLEY)  Oh,  Mr.  Lum- 
ley.  (Sees  his  condition)  Why,  Lumley  !  What's 
the  matter? 

(Enter  ESTELLE  and  KID.     They  stand  up  L.  c.) 

LUMLEY.  I  was  run  over  by  an  automobile,  Mr. 
Waterman,  just  as  I  left  the  theatre. 

ESTELLE.  Oh!  (ESTELLE  turns  anxiously  to 
MRS.  WATERMAN,  who  purposely  averts  her  gaze — 
she  then  looks  at  FULTON,  who  is  very  stern — 
BRADFORD  advances  and  gives  her  his  hand  reas 
suringly) 

HENRY,     (c.)     What! 

BRADFORD.  (Coming  down  L.  c.)  He's  been  in 
the  hospital. 

LUMLEY.  Two  pretty  girls  bringing  me  things 
to  drink — three  doctors. 

KID.  (Coming  down  R.  c.)  Who  was  it  run 
over  you.  D'ye  know 

LUMLEY.  A  man  and  a  woman — (KiD  glances  at 
ESTELLE)  I  don't  know  their  names,  but  they've 
been  arrested.  (Regards  the  KID) 

BRADFORD.  (Introducing)  Mr.  Sheldon — Mr. 
Lumley. 

LUMLEY.  WThat  Sheldon?  (Pleased)  Not 
"Kid  Garvey"  Sheldon? 

KID.    Yes. 

LUMLEY.  (Beaming)  Shake!  I  saw  you  and 
Ryan  at  Madison  Square  and — (Faints)  Oh — 

CATHERINE.     Reginald ! 

MRS.  WATERMAN.    He's  fainted! 

KID.    Give  him  air.     (Pushes  the  others  back) 

HENRY.  Brandy.  (Leaves  the  room  and  enters 
back  room) 

ESTELLE.  Here's  water.  (Takes  a  glass  from 
table.  KID  takes  large  napkin  that  was  under  the 
glass) 


94 


THE  OTHER  GIRL 


CATHERINE.  (Taking  glass  from  ESTELLE) 
Let  me  give  it  to  him.  (Tries)  He  won't  drink. 

BRADFORD.     I'll  lift  his  head. 

KID.  Give  me  that — (Takes  water)  Stand  back 
a  little,  please.  (Throws  water  full  into  LUMLEY'S 
face  and  gives  empty  glass  to  ESTELLE  and  begins 
fanning  LUMLEY  with  the  napkin.  The  LADIES  ex 
claim — LUMLEY  gasps  at  the  water — recovers  with 
the  fanning  and  sits  up) 

CATHERINE.  (As  water  is  thrown)  How  dare 
you? 

LUMLEY.     Why — why — I  fainted,  didn't  I? 

BRADFORD.     Yes. 

KID.    But  you  didn't  take  the  full  count. 

LUMLEY.  (Beaming  and  waving  one  hand  in 
display)  "  The  Kid"  really!  Catherine— where's 
Catherine. 

CATHERINE.  (Coming  to  his  side)  Here  I  am, 
Reginald.  Please  don't  talk,  you  aren't  strong 
enough,  dear. 

( ESTELLE  is  broken  up  at  the  idea  that  LUMLEY 
was  the  man  hurt.) 

LUMLEY.  This  is  Kid  Garvey,  Catherine,  the 
most  wonderful  man  in  the  world.  I  doubt  if  the 
famous  Greek  athletes  excelled  him  although  they 
fought  with  an  iron  glove — Miss  Fulton's  the  young 
lady,  Kid,  that  is  going  to  do  me  the  honor  of  be 
coming  Mrs.  Lumley. 

(Enter  HENRY  with  glass.) 

HENRY.  Here's  some  whisky.  We  seem  to  be 
out  of  brandy. 

KID.  Whisky's  just  as  good.  Take  a  swallow  of 
this,  Mr.  Lumley,  and  don't  talk— your  lady 
friend's  right  about  that. 


THE  OTHER  GIRL  95 

LUMLEY.  (Apologizing)  When  it's  prescribed, 
Catherine 

CATHERINE.    Of  course,  drink  it.    Drink  it. 

KID.     And  he  ought  to  get  to  bed  right  away. 

BRADFORD.    At  once,  I'm  sure. 

LUMLEY.  (Starting  to  get  up)  Very  well.  I'll 
go  home,  then.  But  I  thought  you'd  all  worry. 

CATHERINE.     Oh  no,  he  mustn't  go  home. 

BRADFORD.    You  must  stay  here. 

LUMLEY.     Oh,  my  cab's  at  the  door. 

KID.  My  automobile's  quicker  than  a  cab,  but  if 
your  friends  here'll  give  you  a  bed. 

LUMLEY.     You  got  an  automobile,  Kid? 

KID.    A  bird. 

BRADFORD.  (}Vho  has  consulted  MRS.  WATER 
MAN  and  HENRY)  We  shan't  allow  you  even  to  go 
downstairs,  Reginald.  Henry's  room  is  on  this 
floor. 

KID.    Let  me  help  the  gentleman,  won't  you  ? 

LUMLEY.  (Leaning  on  KID'S  shoulder)  If 
some  one  will  dismiss  my  four-wheeler  for 
me — 

FULTON.    I  will.     (Exit) 

MRS.  WATERMAN.  (At  mantel.  Ringing) 
James  will  help  you  get  to  bed. 

BRADFORD.     No — I  wrill  do  that,  Mattie. 

KID.  (With  a  wink  to  BRADFORD)  I've  done  a 
good  deal  of  this  sort  of  thing  myself  and — 

LUMLEY.  (Pleased  and  pleading)  Yes — Let  the 
Kid  help  me — eh? 

HENRY.  (Leading  the  ivay  to  door  at  back) 
This  room. 

LUMLEY.  (Following  and  leaning  on  KID) 
What  is  yours?  A  Peerless? 

KID.    A  Panhard. 

LUMLEY.  (At  door — to  KID)  One  moment. 
(Turns)  Good-night,  then,  everybody. 


96  THE  OTHER  GIRL 

CATHERINE,  ESTELLE,  BRADFORD  and  MRS. 
WATERMAN.  (Answers  in  character)  "  Good-night, 
night,  good-night." 

LUMLEY.  (Hesitating,  and  tenderly)  Good 
night,  Catherine.  (Extends  hand) 

CATHERINE.     Good-night.     (Gives  her  hand) 

( LUMLEY  kisses  her  hand.  BRADFORD,  MRS.  WAT 
ERMAN  and  ESTELLE  turn  away  down-stage. 
KID  releases  LUMLEY  and  considerately  looks 
over  the  bannisters.  LUMLEY  kisses  CATH 
ERINE  on  forehead.  As  he  turns  away  she 
turns  to  R.  jamb  of  door  and  leans  on  it,  weep 
ing.  KID  resumes  control  of  LUMLEY.) 

LUMLEY.    How  many  horse  power?    Thirty? 

KID.    Eighty-five.     (Exit  with  LUMLEY) 

ESTELLE.  (At  table)  Oh,  I'm  so  grateful,  so 
grateful,  that  he  isn't  killed.  There  can  never  be 
another  moment  in  my  life  as  dreadful  as  when  we 
struck  that  man  in  the  street.  I  thought  we'd 
killed  him,  and  to  think  it  was  he — Reginald  Lum- 
ley  that  we  ran  over. 

BRADFORD.  Don't  think  of  it,  Miss  Kitteridge. 
The  escape  has  been  miraculous  and  I'm  sure  that 
there  is  some  hidden  blessing  in  it. 

(ESTELLE  braces  up.) 

CATHERINE.  I  can't  bear  it.  (Turns  from  door 
jamb  and  sinks  weeping  on  step  next  to  LUMLEY'S 
room) 

(Enter  MAGGIE.) 

MAGGIE.    Did  you  ring,  ma'am? 
MRS.   WATERMAN.     Yes — who  broke  the  glass 
door  in  the  dining-room? 


THE  OTHER  GIRL  97 

BRADFORD.  (U-'ith  authority)  Never  mind, 
Maggie,  you  needn't  answer  that.  I'll  explain, 
Mattie.  (To  MRS.  WATERMAN) 

MAGGIE.     Is  that  all,  ma'am? 

BRADFORD.  Yes — that's  all.  (MRS.  WATERMAN 
nods.  Exit  MAGGIE)  Miss  Catherine,  (Standing 
beside  tier  ct  LUMLEY'S  door)  it  won't  help  Reg 
inald  if  he  should  hear  you — come!  (Lifts  her) 

ESTELLE.  (Approaching  from  L.  c.)  Poor 
Catherine. 

CATHERINE,   (c.)  Estelle. 

ESTELLE.  (Up  c.)  Catherine.  (They  embrace 
just  inside  the  big  doors.  ESTELLE  leads  CATHER 
INE  down  to  c.,  MRS.  WATERMAN  is  R.  c.,  BRADFORD 
stands  at  bannisters  in  hall) 

CATHERINE.  He  won't  die,  will  he?  He  won't 
die,  Estelle? 

ESTELLE.  Of  course  not,  dear.  He  couldn't 
have  come  this  far  if  he  were  dangerously  hurt. 
(CATHERINE  sobs  on  ESTELLE'S  breast) 

(Re-enter  HENRY,  who  is  stopped  by  BRADFORD.) 

ESTELLE.     You  forgive  me,  dear,  don't  you. 

CATHERINE.  Forgive  you !  I  never  can  be 
grateful  enough.  (MRS.  WATERMAN,  talking  with 
HENRY,  does  not  hear  CATHERINE) 

(Enter  FULTON.    The  girls  are  down  L.  c.) 

FULTON.     (To  HENRY)     How  is  he? 

HENRY.  (Reassuringly)  Getting  to  bed — 
slowly. 

FULTON.  The  hospital  had  sent  a  man  with  him, 
but  I  told  them  we'd  look  after  him. 

HENRY.     Quite  right. 

FULTON.  (Seeing  CATHERINE)  My  dear — my 
poor  dear.  (Takes  her  in  his  arms)  What  a  night 
of  excitement  this  has  been  for  you.  (Sweeps  an 
accusing  glance  over  ESTELLE) 


98  THE  OTHER  GIRL 

MRS.  WATERMAN.     Hasn't  it? 

FULTON.  And  now  go  right  up  to  your  room. 
There's  considerable  to  be  talked  over  here  that 
there  is  no  necessity  for  your  listening  to. 

CATHERINE.  (Up  L.  c.,  with  some  resolution) 
Yes,  I  must  listen  to  it. 

ESTELLE.  (Up  c.,  going  to  her)  Why?  Your 
note  is  enough,  my  dear,  saying  that  I  took  your  bag 
with  your  consent. 

FULTON.  (Up  R.  c.)  I  suppose  you  know  why 
that  note  was  written,  don't  you,  Estelle  ? 

CATHERINE.     (Crossing  to  c.)     Oh,  father. 

ESTELLE.    I  think  I  do,  Mr.  Fulton. 

FULTON.  Yes — to  keep  Catherine's  name  from 
the  public  prints — that  is  all.  That  is  all.  Come, 
my  dear,  to  your  room. 

ESTELLE.  (As  CATHERINE  refuses)  Go,  please 
go.  You  can  only  grieve  your  father  by  remaining. 

CATHERINE.     But  I  must  tell  him  that — 

ESTELLE.  You  can  only  grieve  him  by  talking  at 
all.  Think,  my  dear  Catherine.  Your  first  duty  is 
to  him. 

CATHERIN.     Perhaps — but  my  next  duty  is — 

ESTELLE.  Is  to  Mr.  Lumley.  And  you  can't 
help  him  a  little  bit  by  saying  anything. 

FULTON.  Your  sentiments,  Estelle,  would  have 
weight  if  your  behavior  accorded  with  them — go, 
my  dear. 

(Exit  CATHERINE,  upstairs.) 

MRS.  WATERMAN.  (Down  R.  c.  In  a  cast-iron 
change  of  subject)  What's  to  be  done  about  Reg 
gie  Lumley,  Henry? 

HENRY.     In  what  way? 

MRS.  WATERMAN.    He  needs  a  nurse,  doesn't  he? 

HENRY.    He  wants  our  distinguished  friend  .  .  . 

MRS.  WATERMAN.    But  we  can't  permit  that. 

HENRY.     Why  not? 


THE  OTHER  GIRL  99 

MRS   WATERMAN.     The  man  who  ran  over  him: 
ESTELLE.      (Again    ct    the    table.      Shuddering) 
Oh_It  was  terrible.     The  sensation  as  those  awful 
wheels  went  over— (Covers  her  face) 
FULTON.    Why  were  you  there,  Estelle? 
BRADFORD.    If" I  may  suggest,  Mr.  Fulton? 
FULTON.     (Pause)     Go  on,  Doctor. 
BRADFORD.     I  think  you  were  very  wise  to  send 
Miss  Catherine  to  bed— why  not  Miss  Kittendge 
also.     (Goes  L.  of  table  facing  ESTELLE) 

FULTON,  (c.j  Estelle  certainly  must  wish  to 
make  some  explanation,  I  should  think— 

BRADFORD.  Should  we  permit  it?  Next  to  poor 
Lumley  I  think  the  incidents  ci"  the  evening  have 
been  most  trying  upon  her.  She  certainly  needs 
rest  and  quiet  herself. 

FULTON.     An  explanation  may  contribute  to  that. 
ESTELLE.     I'd  rather  wait  until  to-morrow,  Mr. 
Fulton. 

BRADFORD.     There ! 

FULTON..  An  Innocent  girl,  Estelle,  would 
scarcely  be  able  to  rest  under  the  suspicions  that 
this  situation  suggests — it  seems  to  me. 

BRADFORD.  Perhaps  we  can  be  sufficiently  chari 
table  to  dismiss  our  suspicions  if  we  have  any. 

FULTON.  I  can't  rise  to  that  standard,  Doctor— 
-where  did  Estelle  know  this  man?  When  did  she 
meet  him?  He  has  seen  Catherine  only  at  the 
window.  What  opportunities  did  Estelle  take  for 
a  more  intimate  acquaintance  ?  She  has  been  Cath 
erine's  companion.  I  must  know  the  influence  that 
surround  my  daughter. 

BRADFORD.  True!  Inform  yourself  by  all 
means,  Mr.  Fulton,  but  don't  be  unnecessarily  cruel. 
Miss  Kitteridge  has  certain  rights  as  an  individual 
that  even  the  father  of  Miss  Fulton  should  not 
transgress.  (Goes  c.) 

FULTON.     (L.  c.)     I  am  measurably  in  the  posi- 


ioo  THE  OTHER  GIRL 

tion  of  her  own  father  and  /  have  certain^  rights 
that  must  not  be  transgressed  even  by  Estelle's  most 
sympathetic  friends. 

MRS.  WATERMAN.  (R.  c.)  I  think  this  isn't  our 
affair,  Cliff  dear. 

BRADFORD.     Pardon  me,  Mattie — it  is  mine. 

FULTON.     Yours,  Doctor? 

BRADFORD.     Mine. 

FULTON.     Indeed? 

BRADFORD.  I  wish  Miss  Kitteridge  to  know  that 
my  trust  and  confidence  in  her  character  is  so  great 
that  /  need  no  explanations. 

FULTON.  (Down  L.  c.)  Which  must  be  very 
gratifying  to  Estelle  I'm  sure — but  I  perceive  that 
your  confidence,  Doctor,  is  not  shared  by  your  sis 
ter — and  I  regret  that  I  don't  feel  it  myself  to  your 
reassuring  degree.  Now,  Estelle,  I  haven't  been  a 
harsh  guardian,  have  I  ? 

ESTELLE.  (Turning  at  table}  Harsh!  Why, 
Mr.  Fulton,  my  own  father  could  not  have  been 
kinder  to  me.  (Goes  to  him)  I'm  awfully  sorry  to 
grieve  you — awfully  sorry. 

FULTON.  What  is  there  between  you  and  this 
young  man  ? 

ESTELLE.     Nothing — nothing  whatever. 

FULTON.  Good — we're  getting  along  just  as  we 
used  to  do  when  you  were  considerably  younger. 
Now,  (Pauses)  why  were  you  in  his  automobile? 

ESTELLE.  (Pause)  I — I  was  merely  deceiving 
Mr.  Sheldon.  I  meant  to  leave  him  as  soon  as  he 
stopped  any  where,  and  come  home. 

FULTON.     (Not  convinced)     Yes? 

ESTELLE.    Yes. 

FULTON.  Was  that  your  intention  when  you  got 
into  his  car? 

ESTELLE.    Yes. 

HENRY.  (At  door)  Mattie.  (Pause)  We 
don't  need  to  complicate  this  affair,  do  we? 


THE  OTHER  GIRL  101 

MRS.  WATERMAN.  I  think  not.  Good-night 
everybody.  (Goes  up  c.) 

ESTELLE.  (Coming  to  her)  I  want  you  to  be 
lieve  me,  Mrs.  Waterman. 

MRS.  WATERMAN.  (Up  R.  c.  With  insincerity) 
My  dear  Estelle,  I'll  do  anything  I  can  for  you  and 
so  will  Mr.  Waterman,  I'm  sure.  (HENRY  assents) 
I  didn't  know  the  man  was  a  prize  fighter  and  I 
don't  suppose  you  did — and  perhaps  the  whole 
thing,  as  Cliff  says,  is  a  blessing  in  disguise  if  we 
can  only  keep  it  out  of  the  newspapers. 

ESTELLE.  That's  all  I  care  about  myself.  My 
personal  conduct  I'm  sure  won't  displease  you  when 
you  know  all. 

(MRS.  WATERMAN  moves  to  go.) 

FULTON.  (Consulting  watch)  Won't  you  stay  a 
moment  longer.  Mrs.  Waterman,  I  don't  wish  to 
disarrange  your  household  too  much,  but  I  think 
the  girls  and  myself  will  go  to  the  hotel  to-night. 

HENRY.     The  hotel. 

BRADFORD.     Why  ? 

MRS.  WATERMAN.     Oh !    Do  you  really  think  so. 

FULTON.  I  wish  to  start  very  early  for  Phila 
delphia  with  both  the  girls  and — 

HENRY.  But  we've  an  engagement  at  nine  in  the 
morning — Miss — Miss  Kitteridge  and  I. 

MRS.  WATERMAN.     Where? 

HENRY.     (To  FULTON)     Police  court. 

(  ESTELLE  goes  to  big  chair  R.,  and  sits  weeping  and 
partly  overcome  by  the  strain.  BRADFORD  goes 
to  her  sympathetically  and  annoyed  with  the 
others.) 

MRS.  WATERMAN.  (Up  R.  c.  To  HENRY) 
She's  bewitched  poor  Cliff.  I've  seen  it  all  along. 


102  THE  OTHER  GIRL 

FULTON.  (c. )  In  the  police  court.  'rn. 
(Pause)  'm. 

BRADFORD.  That  part  of  it  we  men  can  consult 
about  later.  This  girl  must  have  what  rest  is  still 
possible  to  her  to-night.  Come,  come,  Estelle. 
(Lifts  ESTELLE  from  chair) 

(Enter  KID.     He  puts  his  finger  to  his  lips  as  he 
closes  LUMLEY'S  door.    ESTELLE  stands  at  chair.) 

KID.  (c.)  Sh — He's  asleep  all  right,  but  he 
made  me  promise  to  stable  my  machine  and  then 
come  back,  if  you  people  don't  mind.  You  see,  if  I 
can  square  it  with  him — and  I've  got  him  a  go  in' 
all  right,  I  can  fix  it  with  the  copper,  because  he  was 
kickin'  himself  all  over  the  station  after  he  found 
out  /  was  the  man  he'd  run  in.  Then  we  can  spar 
for  wind  in  the  Police  Court. 

BRADFORD.  I'll  go  with  you,  Kid,  and  we'll  walk 
back  together. 

KID.    Good. 

MRS.  WATERMAN.  (Expostulating)  Oh,  Cliff 
dear. 

FULTON.  There'll  be  twenty  reporters  waiting 
for  that  man.  There  were  half  a  dozen  when  I 
dismissed  the  cab. 

BRADFORD.  My  idea  exactly.  The  Kid  will  re 
turn  here  as  the  instructor  of  Doctor  Bradford,  not 
as  a  person  interested  in  either  of  the  young  ladies. 

FULTON.     Is  his  return  necessary? 

BRADFORD.     Advisable  ? 

FULTON.  (Down  L.  c.)  I  regret  it.  (Indig 
nantly)  Police  Court!  (To  KID)  Do  you  know, 
sir,  that  I've  never  been  in  such  a  place  in  my  life. 

KID.  (c.)  You've  played  in  great  luck,  Gover 
nor.  (Goes  up  R.  and  then  down  R.) 

BRADFORD.  But  before  I  go,  I  must  insist  that 
Miss  Kitteridge  retires. 

ESTELLE.     Good-night. 


THE  OTHER  GIRL  103 

FULTON.  One  moment,  Estelle.  As  matters 
still  stand,  I  think  you  had  better  not  share  the 
room  to-night  with  Catherine. 

ESTELLE.     Oh — oh ! 

(BRADFORD  turns  away  in  restraint.) 

MRS.  WATERMAN.  (Aside  to  BRADFORD)  The 
man's  right,  Cliff  dear. 

FULTON.  At  the  hotel  we  can  have  separate 
apartments  and— 

MRS.  WATERMAN.  No,  no,  Mr.  Fulton,  I'll  take 
Estelle  to  my  room — (To  ESTELLE)  But  I  shall, 
my  dear.  I  fear  I've  been  a  very  poor  chaperone 
as  it  is — but  it's  never  too  late  to  mend,  as  Cliff  is 
always  saying  to  his  helpless  parishioners.  (Ex- 
fends  hand) 

BRADFORD.  My  room  will  be  unoccupied,  Mattie. 
I  have  some  writing  that  will  keep  me  here  in  the 
library. 

ESTELLE.  (To  FULTON)  But — please  don't 
keep  me  away  from  Catherine  to-night.  She's  my 
one  girl  friend — I  can  explain  to  her,  Mr.  Fulton, 
and  if  she  understands  me,  you — you'll  take  Cath 
erine's  word,  won't  you,  and  not  ask  we  any  more? 

FULTON.  Xo,  no !  I  must  be  firm,  Estelle.  I  am 
both  father  and  mother  to  Catherine — you  must  not 
only  not  share  her  room  but  until  every  suspicion 
of  guilt  is  removed  from  your  conduct  of  to-night 
all  companionship  between  you  must  cease. 

ESTELLE.  Mr.  Fulton,  you  may  believe  me  rash 
or  foolish — but  you  can't  think  that  I'm  a  depraved 
woman.  (Pause)  Oh — do  I  seem  that  way  to  the 
others?  (Turns)  Doctor  Bradford — (Pause) 

(BRADFORD  looks  at  KID,  who  has  nudged  him  in  his 
amusement.  KID  slowly  winks  and  grins. 
BRADFORD  bursts  into  uncontrollable  laughter. 


104  THE  OTHER  GIRL 

the  others  regard  BRADFORD  in  amazement. 
BRADFORD  goes  to  ESTELLE,  who  is  also  amazed, 
and  takes  her  hand.  He  then  pats  her  head  in 
a  soothing  manner  as  though  she  were  a  mis 
understood  child.  MRS.  WATERMAN  has  gone 
to  HENRY  in  pantomime  fear  that  BRADFORD  is 
crazy.  The  KID  stands  still  and  grins.  BRAD- 
FOTD'S  laughter  continues  in  bursts.  He  locks 
arms  with  the  KID — they  exeunt.  The  others 
stand  amazed.) 

Curtain 


ACT  III 

The  dining-room.  Glass  doors  R.  and  L.  at 
back.  Left  one  broken,  but  both  curtained  at 
beginning.  Buffet  L.  Side  table  between 
windows.  Door  to  pantry  3  R.  Door  to  house 
ist  R.  Screen  below  pantry  door.  Big  dining 
table  c.  Handsome  furniture  generally. 

DISCOVERED:  Dark  stage  empty— Long  pause 
— An  electric  bell  rings  in  pantry.  Pause.  Bell 
repeats  impatiently.  A  match  flickers  at  I  R. 
and  goes  out. 

KID.     (Off)     Wait  a  minute,  I've  got  another. 

BRADFORD.  Thank  you.  (Light  of  second  match) 
We're  all  right  now.  The  button's  just  here. 
(Turns  electric  button.  Big  lamp  over  table  lights 
up)  Servants  apparently  not  down  yet. 

KID.    Did  you  tell  him? 

BRADFORD.  Yes — listen !  (Pause.  Looks  at  ceil 
ing)  I  thought  I  heard  somebody  overhead. 

KID.     (Also  looking  up)     That  his  room? 


THE  OTHER  GIRL  105 

BRADFORD.  No — that's  the  library.  He's  just 
across  the  hall. 

KID.     What's  he  say?    What'd  you  tell  him? 

BRADFORD.  I  told  him  it  was  your  automobile 
that  hurt  him  and  that  you'd  meant  to  tell  him  so 
yourself. 

KID.     I  started  to  half  a  dozen  times. 

BRADFORD.  He  understands  your  hesitation.  He 
wants  to  se  you. 

KID.  Now?  (BRADFORD  nods.  Bell  rings)  That 
him? 

BRADFORD.  Yes,  and  he  said  he'd  like  a  cup  of 
coffee. 

KID.  I'd  like  one  myself.  (E.rit  BRADFORD  3  R. 
The  KID  sits  on  chair  R.  2  and  doses  as  BRADFORD 
looks  about  outside — Bell  rings.  KID  jumps  to 
center  on  guard  as  at  the  beginning  of  a  round  in  a 
fight — Laughs  foolishly  at  his  mistake.  BRADFORD 
re-enters)  Well  would  you  go  see  him  now  if  you 
were  me? 

BRADFORD.  I  think  I  should.  (Enter  MAGGIE) 
Where  are  the  servants,  Maggie  ? 

MAGGIE.     They're  discharged,  sir. 

BRADFORD.    Oh,  and  the  breakfast? 

MAGGIE.     I  don't  know,  sir. 

BRADFORD.    I  smell  coffee. 

MAGGIE.  I  made  some  myself,  sir,  on  the  little 
gas  stove. 

BRADFORD.  I'd  like  a  cup  of  it  for  Mr.  Lumley. 
(Bell  rings) 

MAGGIE.  Yes,  sir.  I'll  answer  Mrs.  Waterman! 
(Exit  i  R.) 

KID.  (Anxiously)  I'll  wait  and  take  his  coffee 
to  him,  eh? 

BRADFORD.  Yes,  if  you  wish  to.  (Consults 
watch)  Seven  o'clock,  we  breakfast  at  eight. 
(Draws  curtain  of  window  R.  Strong  sunlight 
enters) 


106  THE  OTHER  GIRL 

KID.    Where'd  she  break  it? 

BRADFORD.  It  wasn't  that  window,  it  was  this. 
(Draws  curtain  of  L.  window  disclosing  breaks  of 
lower  panes} 

KID.  Gee  whiz !  She  mixed  it  up  all  right,  didn't 
she? 

BRADFORD.  James  hasn't  even  swept  up  the  pieces. 
(Looks  about  for  something  to  put  the  glass  in — 
takes  glass  fruit  bowl  from  buffet,  with  a  little 
fruit  in  it) 

KID.  (Down  R.  c.)  Women  are  as  bad  as  men 
when  they  get  started,  I  think.  My  barkeeper's  girl 
came  in  one  morning  after  he'd  forgot  to  come  home 
and  she  broke  all  the  glassware  you  could  reach 
with  an  umbrella,  and  then  drummed  tunes  on  the 
cash  register  till  his  business  for  that  day  showed 
forty  thousand  dollars.  Here,  let  me  do  that, 
Doctor!  (Picks  up  glass) 

BRADFORD.    Thank  you,  if  you  will. 

(Enter  ESTELLE,  R.  i.) 

ESTELLE.    Oh!    Why,  am  I  so  early? 
BRADFORD.     (Turning)     Good-morning! 
ESTELLE.     Good-morning ! 

KID.     (Standing  and  nodding)     How  are  you? 
BRADFORD.    I  believe  there's  a  strike  this  morning 
in  the  kitchen  and  pantry? 

(KiD  resumes  work.) 

ESTELLE.  (Indicating  window)  It  seems  to  have 
reached  this  room. 

BRADFORD.     It  began  in  this  room. 

ESTELLE.     Oh ! 

BRADFORD.  But  Mr.  Sheldon  and  I  don't  belong 
to  the  union.  (Comes  down) 

ESTELLE.     You  look  tired,  Doctor  Bradford;  it 


THE  OTHER  GIRL  107 

was  unspeakably  selfish  in  me  to  take  your  room 
from  you. 

BRADFORD.  (Stroking  his  face  and  adjusting  his 
collar)  This  is  not  fatigue,  Miss  Kitteridge.  It  is 
negligence.  The  couch  in  the  library  is  most  com 
fortable,  believe  me ! 

(Enter  MAGGIE,  R.) 

MAGGIE.  Will  Mr.  Lumley  want  anything  else, 
sir? 

BRADFORD.  I  think  not — at  first.  (Pushes  button, 
turning  out  electrolier) 

MAGGIE.     Yes,  sir!     (E.rit  L.) 

ESTELLE.     (Anxiously)     How  is  he? 

BRADFORD.  All  right'  I  hope.  He's  able  to  turn 
over  and  he  wants  coffee. 

ESTELLE.     (R.  c.)     You  saw  him  this  morning? 

BRADFORD.  Yes;  Mr.  Sheldon  was  with  him  all 
night. 

ESTELLE.    Does  he  know  it  was — who  it  was? 

BRADFORD.  He  knows  it  was  Mr.  Sheldon  and 
in  all  my  experience  I  have  never  seen  anyone  so 
anxious  to  comply  with  the  scriptural  injunction: 
"  Do  good  to  them  that  injure  thee  ". 

ESTELLE.  (Quizzically)  Is  that  due  to  his  ad 
miration  for  your  precepts,  Doctor? 

BRADFORD.     (Pause)     Mr.  Sheldon's  biceps! 

ESTELLE.     Oh ! 

KID.  (Rising  with  fruit  bowl  of  broken  glass) 
Do  you  want  to  hide  this  bunch  of  stuff,  or  put  it  in 
the  show  window?  (Crosses  down  L.) 

BRADFORD.  Set  it  there — (Buffet)  the  maid  will 
throw  it  away ! 

KID.  "  Throw  it  aivay ! "  Why,  I  know  a  fel 
low  in  the  vaudeville  that  eats  broken  glass.  This 
platefull'd  feed  a  poor  man  like  him  for  a  week. 
(Glances  from  BRADFORD  to  ESTELLE.  ESTELLE 
gives  BRADFORD  a  quick  glance,  bites  her  lips  in 


io8  THE  OTHER  GIRL 

restraint  and  exit  at  pantry  door,  R.  3.  Both  men 
smile  mutually,  KID  puts  bowl  on  buffet) 

BRADFORD.  (Leaning  on  table,  c.)  That's  an 
example,  Kid,  of  what  I  meant  in  our  walk  last 
night.  Life  is  too  much  of  a  joke  with  you.  The 
twenty  dollar  bill  you  were  about  to  burn  will  re 
lieve  some  suffering — Miss  Kitteridge  will  see  that 
it  does.  She's  in  earnest — and  the  window  and  the 
poor  chap  upstairs — still  jokes  to  you! 

KID.  Oh,  no,  it  ain't!  I'm  dead  sorry  for  him. 
Every  time  he  woke  up  he  commenced  to  gab  about 
"  his  Catherine  ". 

BRADFORD.  As  I  told  you — and  when  the  mere 
physical  influence  that  you  exert  is  away,  her  entire 
heart  will  be  his  also. 

KID.  You're  right.  I  got  onto  that  in  the  library. 
(Pause)  Women  are  that  way!  Out  West  one 
time — before  I'd  fought  as  a  professional — there 
was  a  girl  playin'  about  even  between  me  and  an 
other  boxer. 

BRADFORD.     A  pugilist? 

KID.  (Nodding  "yes")  Pretty  work — but  he 
didn't  like  the  gruel — so  we  agreed  to  fight  for  the 
girl — see  ? 

BRADFORD.    All  unknown  to  her,  of  course? 

KID.  (Laughing  (( not  much")  She  held  the 
watch  for  us  and  called  time. 

BRADFORD.     The  girl?     Is  it  possible? 

KID.  Oh,  yes.  Well,  there  bein'  a  lady  present, 
you  see  I  thought  I'd  make  it  short.  The  other 
fellow  wanted  to  cut  some  "  figure  eights  "  and  that 
sort  of  "  fancy  work  ",  but  I  got  to  his  gold  fillings 
in  the  middle  of  the  second  and  it  was  "  Sunday  " 
for  him. 

BRADFORD.     (Assenting)     Out! 

KID.  Clean !  I  turned  around  to  collect  the  girl, 
and  she  wasn't  there.  Not  her !  She  was  down  on 


THE  OTHER  GIRL  109 

the  ground  with  the  pretty  boy's  head  in  her  lap  and 
I  wasn't  one — two — three! 

BRADFORD.  She  was  a  more  womanly  girl  than 
you  thought,  wasn't  she? 

KID.  A  good  deal.  It  was  all  I  could  do  to  get 
back  the  watch.  Well,  when  this  Johnny  upstairs 
fainted  in  that  big  chair  last  night,  I  saw  who  owned 
"  his  Catherine." 

BRADFORD.  Of  course  you  did !  Her  genuine 
sympathy  at  that  time  commanded  my  respect  also. 

KID.  My  business  teaches  a  fellow  one  thing, 
Doctor — If  you  can't  win,  be  a  good  loser! 

BRADFORD.  And  do  be  a  good  loser,  Kid,  in  this 
affair.  Lumley's  great  admiration  for  you  makes 
any  trifling  with  Miss  Fulton  all  the  more  blame 
worthy.  You  see  that,  don't  you? 

KID.  Oh,  I've  scratched  that.  I  never  fooled 
with  any  fellow's  girl  in  my  life.  (Pause)  After 
I'd  once  shook  hands  with  him. 

BRADFORD.  That's  a  good  rule.  Kid ;  there's  only 
one  better.  Never  fool  with  any  fellow's  girl, 
whether  you've  shook  hands  with  him  or  not. 

KID.     It  wasn't  all  fooling  with  this  one. 

BRADFORD.    What  was  it? 

KID.  You  see,  everybody  says  a  fighter  ain't  a 
gentleman. 

BRADFORD.  (Controlling  his  wish  to  smile)  I'm 
familiar  with  that  prejudice. 

KID.  Well,  here's  a  girl  that  has  her  picture  in 
the  paper  if  she  goes  to  the  horse  show ;  and  her 
picture  in  the  paper  because  she's  goin'  to  marry 
one  of  the  richest  men  in  New  York — a  society 
queen.  Now,  anybody  that  catches  her  has  got  to 
be  a  gentleman,  ain't  he?  And  when  I  saw  it  com 
ing  my  way,  I  said :  "  I'll  just  steal  this  one  and 
they'll  all  have  to  sit  up  and  stop  talking.  Jeffries 
may  be  a  '  shine  '  and  all  the  rest  of  them  a  chip 


i  io  THE  OTHER  GIRL 

shy — but  Kid  Garvey  Sheldon  will  be  a  real  gentle 
man  fighter,  see? 

BRADFORD.  (Seriously,  shaking  his  head)  I  don't 
agree  with  you,  Kid.  It's  the  things  a  man  does — 
in  his  conduct — not  whom  he  marries.  Your  be 
havior  since  your  auto  run  over  Mr.  Lumley  has 
been  much  more  the  work  of  a  gentleman  than 
stealing  even  a  society  queen.  Trying  to  protect 
the  young  lady's  name ;  coming  promptly  to  me  with 
the  facts ;  sitting  up  all  night  with  Lumley — that's 
the  gentlemanly  behavior.  ' 

KID.  Why,  I  did  that  just  to  be  kind  to  you  and 
him. 

BRADFORD.  Well,  kindness,  my  boy,  is  the  chief 
mark  of  the  gentleman. 

KID.  Kindness?  (BRADFORD  nods)  Then  I 
should  think  a  preacher'd  be  a  gentleman. 

BRADFORD.    Many  of  them  are. 

KID.  Well,  you're  one  all  right,  Doc.  Because  a 
man  that  was  only  a  preacher'd  think  he  was  due  to 
turn  me  down  so  hard  on  account  of  this  girl  busi 
ness  that  he  wouldn't  speak  to  me  now — would  he? 

BRADFORD.  I  fear  that  is  a  mistake — that  the 
man  who  was  only  a  gentleman  would  be  more  likely 
to  make  than  the  preacher.  My  business  teaches  a 
fellow  one  thing  also 

KID.     What  is  it? 

BRADFORD.  If  you  can't  help  a  man,  be  very  slow, 
to  condemn  him. 

(Enter  ESTELLE,  followed  by  MAGGIE  with  tray.) 
ESTELLE.    I've  put  some  melon  on  Mr.  Lumley's 

tray,  Doctor.     He  probably  has  some  fever  and — 
BRADFORD.       Good — but,     Maggie  —    (MAGGIE 

pauses)     Mr.  Sheldon  wishes  to  take  it  to  him. 
MAGGIE.    Yes,  sir.     (Gives  tray  and  exit') 
KID.     (With  tray)     You're  sure  he  wants  to  see 

me,  Doctor? 


THE  OTHER  GIRL  in 

BRADFORD.    Quite. 

KID.  I  wish  I  was  sure  I  want  to  see  him. 
(Exit) 

(ESTELLE  and  BRADFORD  regard  each  other  a  mo 
ment.     ESTELLE  drops  her  eyes) 

BRADFORD.    You  saved  her,  didn't  you  ? 

ESTELLE.  (Looking  up)  I  hope  so — but  have 
I? 

BRADFORD.  Yes,  you  and  the  fortunate  accident  to 
poor  Lumley.  You've  saved  her  from  a  great 
scandal  and  a  greater  unhappiness. 

ESTELLE.  She  couldn't  have  been  happy  with 
him  ? 

BRADFORD.  Impossible.  It  was  his  vanity  not  his 
love  that  she  appealed  to. 

ESTELLE.  And  it  was  her  youth  and — well  her 
youth  that  made  her  like  him  and  he  really  was 
very  attractive  when  you  were  wrestling  out  there — 
you  both  are. 

BRADFORD.    Thank  you! 

ESTELLE.  Well,  you  knew  it,  didn't  you?  Men 
wouldn't  allow  ladies  to  watch  them  in  their  athletics 
if  they  thought  they  appeared  to  disadvantage. 

BRADFORD.    I  suppose  not! 

ESTELLE.  He  won't  try  to  take  her  away  again, 
will  he? 

BRADFORD.  No,  and  if  he  did,  Catherine  wouldn't 
go.  She  has  discovered  that  her  love  for  Reginald 
is  real. 

ESTELLE.  If  the  truth  can  be  kept  from  Reginald 
I  shall  feel  repaid  for  any  misfortune  that  may 
come  to  me. 

BRADFORD.    No  misfortune  shall  come  to  you. 

ESTELLE.  If  we  could  only  put  some  creditable 
color  on  it  to  Mr.  Fulton.  I  have  valued  his  good 
opinion  so  highly. 


H2  THE  OTHER  GIRL 

BRADFORD.  What  creditable  color  did  you  place 
on  it  for  my  sister? 

ESTELLE.  None.  That's  the  reason  I  took  your 
room.  If  I'd  have  shared  hers  I'm  sure  I'd  have 
told  her  everything.  Mrs.  Waterman's  such  a 
masterful  woman. 

BRADFORD.     And  why  not  tell  everything? 

ESTELLE.  I  wanted  to  think  it  over.  I  wanted  to 
counsel  with  somebody.  I  didn't  know  \vhom.  I 
never  dreamed  that  you  knew — until — until  it 
amused  you  so  much. 

BRADFORD.  (Smiling)  You  must  remember  that 
I  have  a  cultivated  taste  for  amusement 

ESTELLE.     How  did  you  know? 

BRADFORD.  (Pointing  to  door  of  balcony)  I  was 
there. 

ESTELLE.  (Inhaling  and  shaking  head  ominously) 
Catherine  is  all  impulse — at  the  first  moment  of  any 
emotion — all  impulse. 

BRADFORD.  Mattie  fetched  those  doors  from 
Rome. 

ESTELLE.  Oh,  I'm  so  sorry.  (Pause)  She  knew 
Catherine  did  it? 

BRADFORD.  No.  But  she  probably  does  by  this 
time.  I  told  Mr.  Waterman  last  night  and  Mattie's 
a  very  masterful  woman. 

ESTELLE.  Did  you  tell  him  why  I  went  in  the 
automobile  ? 

BRADFORD.  (First  shaking  his  head)  I  shall  tell 
him  this  morning. 

ESTELLE.    Is  it  wise  to  do  so? 

BRADFORD.  I  don't  know.  But  it's  human.  And 
that's  a  luxury  that  I  occasionally  insist  upon. 

ESTELLE.    But  why  should  he  know  it  ? 

BRADFORD.    /  live  with  him. 

ESTELLE.    I  don't  understand  you. 

BRADFORD.      There's    one    qualification    for    the 


THE  OTHER  GIRL  113 

ministry  that  a  clergyman  must  have  and  must  per 
mit  no  one  to  successfully  challenge. 

ESTELLE.    What  is  that? 

BRADFORD.  His  intelligence.  (Pause.  ESTELLE 
shakes  her  head,  not  comprehending)  I'm  going  to 
tell  my  sister  and  her  husband  this  morning  that 
I've  asked  Estelle  Kitteridge  to  be  my  wife  and  I 
don't  want  them  to  think  that  I'd  have  done  that  if 
her  greater  inclination  was  to  elope  with  a  pugilist. 
(Takes  her  hand) 

ESTELLE.  (Looking  down)  But  you  haven't 
asked  her. 

BRADFORD.  I  shall  have  done  so  by  the  time  I  tell 
them  I  have.  (Draws  her  to  him)  And  she?  She 
will  have  probably  answered? 

ESTELLE.  (Standing  hint  off)  That  depends. 
You  know,  Doctor,  in  our  talk  last  evening  on  the 
porch 

BRADFORD.     Ves 

ESTELLE.  \Vhat  I  wanted  to  s?y  wa^  that  I'd 
kind  a  "  loukcl  ,//•  to  you." 

BRADFORD.     [  understood  you. 

ESTELLE.  \Yhat  I  did  say  was  that  "  I'd  tried 
to  move  toward  the  ideals  you'd  expressed." 

BRADFORD.     I  remember  the  phrase  perfectly. 

ESTELLE.  So  do  I.  "Move  tow'ard  the  ideals." 
You  know  I  don't  talk  that  way  as  a  general  thing 
and  I  couldn't  promise  to  be  your  wife  if  I  had  to  be 
as — as — literar\ — as  that  all  the  time — I  couldn't 
stand  the  strain  of  it. 

BRADFORD.  (Laughing)  \Yhy,  you  dear  girl, 
you  shall  be  as  natural  as  you  wish. 

ESTELLE.  Thank  you !  (He  starts  to  embrace 
her)  No,  wait — one  word  about  the  charities.  I 
love  all  kinds  of  charitable  work — simply  love  it — 
as  a  pastime.  I  shouldn't  like  to  look  forward  to  a 
life  of  it — and  a  minister's  wife  runs  that  risk, 
doesn't  she? 


u4  THE  OTHER  GIRL 

BRADFORD.  This  minister's  wife  won't.  Noiu 
may  I  tell  them? 

ESTELLE.     What? 

BRADFORD.    That  you've  said  "yes"?  , 

ESTELLE.  No — nothing,  until  everything  between 
Reggie  and  Catherine  is  fixed  all  right. 

BRADFORD.     But  you  do  say  "  yes  ",  don't  you  ? 

ESTELLE.    Yes!    (Embrace) 

(Enter  ANN.) 

ANN.  My  lands !  He  has  the  other  one  now ! 
(Exit) 

(Enter  KID  with  hat,  R.  i.) 

KID.    Excuse  me,  but — (Pause) 

BRADFORD.     (Releasing  ESTELLE)     How  is  he? 

KID.     (Perplexed)     The  old  gent  dropped  in — 

BRADFORD.     Who  ? 

KID.     The  girl's  governor  ! 

BRADFORD.     Mr.  Fulton. 

KID.     Yes. 

BRADFORD.    To  Mr.  Lumley's  room? 

KID.  Yes — Mr.  Lumley  thought  it  was  funny 
to  tell  him  that  it  was  my  machine  that  hit  him  and 
all  about  it,  but  the  old  gent  wouldn't  shift  a  wrinkle 
— so  Lumley  ups  and  asks  him  why  he  was  pullin' 
such  a  sour  mug- 


BRADFORD.     (Prompting)     Yes- 


KID.  (Half  throwing  up  his  hands)  Well — the 
old  gent  blows  everything.  Your  lady's  name — and 
the  bag  and  the  whole  business. 

BRADFORD.     (Indignantly)     What! 

KID.  Just  as  I'm  tellin'  you — and  that  Miss  Kit- 
teridge  can't  train  with  his  girl  any  more — so  I 
backed  into  my  corner  and  ducked  under  the  ropes. 
(Consults  watch)  It's  nearly  eight  now  and  I've 


THE  OTHER  GIRL  115 

gol:  to  pump  round  a  good  deal  before  nine — so  I'll 
quit  you.  (Goes  up) 

BRADFORD.    But  you've  had  no  breakfast. 

KID.  That's  all  right.  I'll  catch  a  cup  of  coffee 
and  a  sinker — on  the  wing — (Pause)  What  you 
said  last  night,  goes ;  don't  it  ? 

BRADFORD.    It  does  indeed. 

(Km  extends  hand  and  they  shake.) 

KID.  (At  door  up-stage — approvingly)  Say 
Miss  Kitteridge!  Anybody  in  your  class — You! 
(E.vit) 

ESTELLE.    Y\  hat  did  he  mean  by  that  ? 

BRADFORD.  I  took  it  to  be  your  professional  rat 
ing. 

(Re-enter  MAGGIE  from  pantry.) 

MAGGIE.  Pardon  me — but  Mrs.  \Yaterman  says 
for  me  to  set  the  table.  (Goes  to  buffet  drawer  for 
clothe) 

BRADFORD.     Very  well,  Maggie. 

ESTELLE.     I'll  help  you. 

MAGGIE.  Oh,  no,  miss.  (MAGGIE  removes  center 
piece  from  mahogany  table) 

BRADFORD.  I  have  your  permission,  Miss  Kit 
teridge  to  invade  my  room  a  moment  in  order  to — 

ESTELLE.     You'll  find  it  in  order,  doctor. 

BRADFORD.     And  I  take  orders  easily.     (Exit) 

MAGGIE.  (As  ESTELLE  takes  table  cloth)  This 
pad  goes  first.  Miss. 

ESTELLE.  (Taking  table  pad)  Can't  I  do  this 
alone,  Maggie,  while  you're  getting  the  breakfast. 

MAGGIE.  (Assisting)  Thank  you.  I'll  help  you 
with  the  cloth  and  then  I  will  go  to  the  kitchen  if 


ii6  THE  OTHER  GIRL 

you  don't  mind.  And  its  the  blue  china  from  the 
pantry  for  breakfast. 

ESTELLE.    Oh,  /  know  Maggie. 

MAGGIE.  And  the  egg  cups,  Miss — boiled  eggs 
are  the  quickest  and  we're  all  that  late  already 

ESTELLE.  To  be  sure — No,  run  right  along  and 
leave  me  with  these  little  things. 

MAGGIE.     (Going)     Thank  you,  Miss  Kitteridge. 

(Enter  CATHERINE  L.) 

MAGGIE.  Oh,  Miss  Catherine — I  hope  you're  bet 
ter. 

CATHERINE.  Much  better  thank  you,  Maggie. 
(MAGGIE  bows  and  goes)  Estelle  ! 

ESTELLE.  (Quickly  to  her)  My  poor  Catherine. 
(Embrace)  Don't  my  dear,  I'm  sure  everything's 
going  to  come  out  all  right — everything! 

CATHERINE.     What  about  Reginald. 

ESTELLE.  (Expansively)  Why  he's  had  break 
fast  and  he  can  sit  up. 

CATHERINE.    Who  took  it  to  him — you? 

ESTELLE.    Mr.  Sheldon. 

CATHERINE.    He's  been  here  all  night,  hasn't  he? 

ESTELLE.     (Tentatively)     Yes 

CATHERINE.  Oh,  Estelle,  what  made  me  behave 
in  that  crazy  manner.  I  crept  down  to  their  door 
last  night  and  could  hear  them  talking.  Reginald 
and  him — talking,  talking — mechanical  terms: 
"  Horse  power  "  and  "  upper  cuts  "  and  "  just  saved 
by  the  bell "  and  I  wonder  at  myself ;  Reggie's 
words  were  so  musical  and  genteel  and  that  man's 
seemed  so  common — oh,  why  did  I  do  it? 

ESTELLE.  It  doesn't  matter  now  why — Compose 
yourself  Catherine  and  help  me  at  the  table.  There's 
some  trouble  wtih  the  servants. 


THE  OTHER  GIRL  117 

CATHERINE.  That's  my  fault  too.  Oh,  I  haven't 
slept  an  hour  all  night  Estelle. 

ESTELLE.  Never  mind — put  some  of  those  tum 
blers  about  while  I  get  the  blue  plates  from  the 
pantry.  (Exit) 

CATHERINE.  (At  buffet  L.)  What's  all  this  in 
the  fruit  dish?  (Enter  MRS.  WATERMAN.  Turns 
with  plate)  Why  the  fruit  is  full  of  broken  glass. 

MRS.   WATERMAN.      Is   it? 

CATHERINE.     Yes — (Extends  plate) 

MRS.  WATERMAN.  Don't  you  know  where  it 
came  from,  my  dear?  That  broken  glass. 

CATHERINE.      (Really  ignorant)     Why  no. 

MRS.  WATERMAN.  '(Points  to  door)  From  the 
Palace  of  the  Medicis. 

CATHERINE.  Why  the  door  is  broken.  Did  I — 
Oh,  Mrs.  Waterman.  Did  /  do  that? 

MRS.  WATERMAN.  (Enter  ESTELLE  with  plates) 
You  must  have  been  vcr\  frightened  not  to  have 
known  it  my  dear — Who  locked  you  out? 

ESTELLE.  I  did,  Mrs.  Waterman.  (Comes 
down ) 

MRS.  WATERMAN.  Oh,  Miss  Kitteridge.  Just 
before  you — you  went  for  your  drive,  I  suppose. 

ESTELLE.  Yes,  but  we  will  explain  all  that  Mrs. 
\Yaterman,  we'll  explain  everything  when  the  gentle 
men  are  all  gone. 

MRS.  WATERMAN.  Dear  me!  (Pause)  Is  it 
really  so — so  piquant  as  that?  (Goes  to  set  dish 
down) 

CATHERINE.      (Hurt  by  "piquant")     Estelle! 

ESTELLE.  (Comforting)  Cheer  up,  dear — please. 
(Arm  about  her) 

(Enter  FULTON.) 

^  FULTON.      (Shocked  at  sight  of  CATHERINE  in 
ESTELLES  arms)     Catherine — come  here.     (ESTELLE 


n8  THE  OTHER  GIRL 

leaves  CATHERINE.  FULTON  takes  CATHERINE.  To 
ESTELLE)  Did  I  hear  you  at  Catherine's  door  this 
morning,  Estelle? 

ESTELLE.  (Busy  at  table)  No — I  sent  Maggie 
for  some  of  my  things.  You  probably  heard  her. 

FULTON.  Oh — (Apart  to  MRS.  WALTERMAN) 
There's  a  degree  of  composure  that  amounts  to 
callousness,  isn't  there. 

MRS.  WATERMAN.  Isn't  there?  (Shrugging 
shoulders  askance  at  ESTELLE)  We  are  without  a 
butler  this  morning,  Mr.  Fulton ;  and  a  cook  I  be 
lieve. 

(CATHERINE  turns  to  buffet  and  gets  tumblers.} 

FULTON.  I  readily  understand  it  and  sympathize 
Mrs.  Waterman — did  you  learn  which  of  them 
broke  your  door.  (ESTELLE  and  CATHERINE  pause. 
MRS.  WATERMAN  signals  silence  on  that  subject  and 
FULTON  dissembles)  Oh,  believe  me,  I  like  it. 
(Again,  apart)  I've  been  utterly  mistaken  in  that 
girl.  (To  MRS.  WATERMAN.  Then  to  CATHERINE) 
Now,  Catherine  darling,  be  as  brave  and  as  womanly 
as  you  know  how  to  be.  (Turns  to  MRS.  WATER 
MAN)  Mr.  Lumley  is  coming  down  stairs,  Mrs. 
W'aterman. 

MRS.  WATERMAN.     (Apprehensively)     Oh! 

FULTON.  He  wishes  to  dispel  the  family's  anxiety 
by  being  with  us. 

MRS.  WATERMAN.  Why  Catherine,  dear,  you 
needn't  do  that. 

CATHERINE.  Yes  please — I  wish  to  do  it.  (Ar 
ranging  table  things  with  ESTELLE) 

(Enter  MAGGIE.) 

MAGGIE.  The  breakfast  is  ready  ma'm — shall  we 
wait  for  Mr.  Waterman? 


THE  OTHER  GIRL  119 

MRS.  WATERMAN.  Xo — He  said  not — to  (Exit 
MAGGIE)  sit  down  please — Mr.  Fulton  and  young 
ladies.  We  don't  need  so  many  things,  I'm  sure. 
(Sits) 

ESTELLE.    I  will — in  a  moment. 

(E.vit  to  pantry.     CATHERINE  sits.) 

FULTON.  (Looking  after  ESTELLE  then  speaking 
to  CATHERINE)  My  dear — a  little  more  reserve 
with  Estelle — (To  MRS.  WATERMAN)  Do  you 
understand  that  assurance.  (MRS.  WATERMAN, 
shrucjs.  To  CATHERINE)  A  little  more  reserve. 
(Sits) 

CATHERINE.  Xo  father — I  can't — you  don't 
know 

HENRY.  (Outside  i  R.)  Not  too  fast — not  too 
fast — (Appears  I  R.)  Good-mornin'  everybody— 
Mr.  Lumley  my  dear — He  wanted  to  send  for  his 
own  clothes,  but  I  said  "  Why  it's  all  in  the  family  " 
Come  in,  Reginald. 

(Enter  LUMLEY  in  a  business  suit  and  linen  of 
HENRY'S  arranged  for  comedy.  FULTON  rises. 
CATHERINE  pushes  chair  from  table.) 

LUMLEY.  (Apologising)  You  know,  a  dress 
suit  at  breakfast — even  a  clean  dress  suit  looks — 
dissipated — so — (Displays  his  wake-up) 

MRS.  WATERMAN.  Why  that's  very  good  indeed 
Reginald — sit  there. 

LUMLEY.     Xo,  I've  had  my  breakfast. 

CATHERINE.  (Offering  another  chair)  But  sit 
here — by  me — won't  you? 

LUMLEY.  (Indicating  clothes)  These  don't— dis 
qualify  me?  (Sits  near  her) 

CATHERINE.  Of  course  they  don't — won't  you 
have  a  glass  of  water? 


120  THE  OTHER  GIRL 

LUMLEY.  Thank  you.  (CATHERINE  pours  out 
the  water)  I'll  take  a  mouthful  and  perhaps  a 
bite — just  a  bite  of  fruit. 

HENRY.    Fruit!     (Takes  dish  from  buffet)     Oh! 

MRS.  WATERMAN.     Not  that,  Henry. 

(HENRY  crosses  with  it  to  R.) 

LUMLEY.     Glace — isn't  it?     (Drinks) 

MRS.  WATERMAN.     (Smiling  through  set  teeth) 

Yes — quite. 

HENRY.       (Despairingly    at    LUMLEY)       Glace! 

Still  very  weak — ha,  ha ! 

(Enter  ESTELLE  with  melon  and  dishes.) 

ESTELLE.     Why,  Mr.  Lufcley! 

LUMLEY.     (Rising)     Good-morning. 

CATHERINE.     Please  keep  your  seat. 

ESTELLE.  I'm  so  glad  to  see  you  able  to  do  this — 
but  are  you  strong  enough  really? 

LUMLEY.     Oh,  yes. 

FULTON.  (To  MRS.  WATERMAN,  and  referring 
to  ESTELLE'S  composure)  Incredible! 

LUMLEY.  Of  course  I  look  a  trifle  emaciated  in 
this  outfit  but — How  are  you  doctor.  (Looking  to 
door  i  R.) 

(Enter  BRADFORD.) 

BRADFORD.  Hello  Reggie!  Isn't  this  rather 
heroic.  (They  meet  in  front  of  table) 

LUMLEY.  The  clothes  are  collossal — but  I 
thought  /  should  be  at  this  breakfast  at  all  hazards — 

(Enter  MAGGIE  with  coffee  pot.) 

MRS.  WATERMAN.  Here's  the  coffee — sit  down 
Cliff. 


THE  OTHER  GIRL  121 

CATHERINE.  (To  LUMLEY)  Please.  (Leads 
him  to  chair  again.  Bell  rings) 

(M AGGIE  exit.) 

rlEXRY.     What's  that? 

MRS.  WATERMAN.  Front  door  probably — Here 
is  some  iced  melon  Catherine  I'm  sure  Reggie  will 
like  that. 

CATHERINE.     Yes — (Gets  a  piece  for  LUMLEY) 

MRS.  WATERMAN.  (Insincerely  and  insinuat 
ingly)  Sit  down,  Estelle  dear. 

ESTELLE.     Have  you  everything  you  need? 

MRS.  WATERMAN.     Oh,  yes,  thank  you! 

LUMLEY.  I  had  one  piece  of  this  before — before 
I  made  my  toilet. 

BRADFORD.     Yes,  Miss  Kitteridge  sent  it  to  you. 

LUMLEY.     I  knew  it  was  some  good  friend. 

( FULTON  looks  at  MRS.  WATERMAN.) 
CATHERINE.     And  it  was. 

( FULTON  looks  at  CATERINE,  in  surprise.     Enter 
MAGGIE  i  R.) 

MAGGIE.     Judge  Bates,  ma'm! 
HENRY.     Ask  the  judge  to  step  up  here. 
MAGGIE.     Yes,  sir.     (Exit) 
LUMLEY.     Judge  Newton  Bates? 
BRADFORD.    Yes. 

LUMLEY.  I  haven't  seen  Judge  Bates  since  I  was 
at  Yale. 

BRADFORD.     (Grunting)     'm. 

(MRS.  WATERMAN  coughs.) 

CATHERINE.    Was  Judge  Bates  at  Yale? 
LUMLEY.     (With  meaning)     He  was  when  I  saw 
him  last.     So  was  Doctor  Bradford. 


122  THE  OTHER  GIRL 

FULTON.  Why  I  thought  you  were  a  Harvard 
man,  Doctor? 

BRADFORD.  (Nods)  My  dear  Reginald,  aren't  we 
on  tender  ground. 

LUMLEY.  Perhaps.  (To  CATHERINE)  Didn't 
you  ever  hear  how  Doctor  Bradford  and  Judge 
Bates  went  to  New  Haven  to  see  me? 

CATHERINE.     No. 

LUMLEY.     Nor  read  it  in  the  papers?  . 

CATHERINE.     No. 

(Enter  JUDGE  with  morning  papers.) 

JUDGE.     Good-morning. 

OMNES.     (In  character)     Good-morning,  Judge! 

JUDGE.  (Full  of  his  news)  Do  you  know  who 
the  man  was  that  we  run  over  last  night? 

BRADFORD.     Yes,  we've  got  him  here. 

JUDGE.     (Astonished}     What! 

LUMLEY.  How  are  you,  Judge  Bates.  Haven't 
seen  you  since  New  Haven  (Half  rises) 

JUDGE.  Why,  Mr.  Lumley,  this  is  astonishing. 
You're  in  bed  for  several  weeks  according  to  the 
papers.  It  didn't  injure  you? 

LUMLEY.    Thank  you,  no. 

BRADFORD.  Doesn't  even  hurt  his  feelings  since 
he  learned  who  did  it. 

JUDGE.     (Turning  to  ESTELLE  slowly)     Oh — Oh! 

ESTELLE.  What  do  the  papers  do  with  me, 
Judge  ? 

JUDGE.     Not  mentioned. 

FULTON.     Nor — nor — m\  family? 

JUDGE.     Not  at  all. 

FULTON.    Ah !     (In  relief) 

BRADFORD.    You  have  all  the  papers? 

JUDGE.  All.  That  reporter  fellow  brought  them 
to  me — to  show  that  he'd  done  as  he  promised  he 
would.  I  offered  him  a  check  for  his  services  but 


THE  OTHER  GIRL  123 

hi 

-"  ••     r~~L ~~  J 

BRADFORD.  Thank  you. 

(JUDGE  puts  papers  on  table.) 


THE  OTHER  GIRL  123 

he  refused  it — His  only  request  was  that  I  should 
show  the  papers  to  you.     (To  BRADFORD) 


LUMLEV.     Cheer  up,  doctor. 

BRADFORD.     I!    Do  I  seem  unhappy? 

LUMLEY.  Yes,  you  do,  and  the  whole  matter  is 
less  serious  than  you  think.  You'll  pardon  me,  Miss 
Kitteridge  but  this  seems  a  very  opportune  moment 
for  me  to  make  certain  statements.  (To  JUDGE) 
The  Kid — sat  up  with  me  last  night. 

JUDGE.     Sheldon. 

LUMLEV.  (Very  seriously)  Yes.  He  said  a 
great  many  things  about  his  influence  over  women 
that  I  didn't  understand  at  all — seemed  mere  boast 
ing  and  vanity — until  Mr.  Fulton  told  me  this  morn- 
that  well — who  the  lady  was  that  Sheldon  had  with 
him. 

JUDGE.     The  papers  all  agree — Miss  Morrison. 

LUMLEY.  (Smiling)  I  understand.  Now  all  I 
want  to  say  is,  and  what  he  meant  me  to  under 
stand  was,  that  a  person — man  or  woman  can  be 
carried  away — temporarily — by  such  an  admiration 
as  the  Kid  would  inspire — why  he's  the  best  man 
we've  got  of  his  weight.  \Yhy  shouldn't  that  side 
of  him  attract  a  girl? 

ESTELLE.     Thank  you,  Mr.  Lumley. 

CATHERINE.     (Pained)     Oh — Estelle  don't. 

( FULTON  indignant.) 

LUMLEY.    What's  the  matter? 
CATHERINE.       (Rising)       Excuse     me,     please. 
(Starts  off) 

LUMLEY.     (Pleading)     Just  a  word,  Catherine. 
FULTON.     (Arresting  her)     My  dear! 


124  THE  OTHER  GIRL 

LUMLEY.  You  know  doctor,  what  men  are  under 
similiar  influences  and  you  know  what  there  worth 
afterwards — So  does  the  Judge 

ESTELLE.     Mr.  Lumley  is  tiring  himself — I  can 

LUMLEY.     (Faintly)     Perhaps 

CATHERINE.  (Returning)  Then  please  don't, 
Reginald.  You  don't  understand  the  situation  at 
all. 

LUMLEY.  Maybe  not — but  let  us  all  be  charitable. 
(To  BRADFORD)  You  did  me  a  great  service  that 
time  at  New  Haven  doctor  and  now  I'll  do  you  one 
in  spite  of  yourself. 

BRADFORD.  Thank  you,  Reginald  I  know  you 
mean  it. 

HENRY.  But  I'm  sure  we  shouldn't  permit 
Reginald  to  say  any  more  just  now. 

LUMLEY.  (Indicating  BRADFORD)  Then  let  him 
tell  it  himself — or  the  judge.  I  want  Mr.  Fulton 
and  his  daughter  to  know  it — They  should  have 
known  it  before. 

CATHERINE.    What  is  it? 

LUMLEY.     (Positively)     Tell  her! 

BRADFORD.  (Pause)  Reginald  at  college  was 
quite  the  average  college  boy  in  many  ways — 
especially  the  young  man  at  college  spoiled  by  too 
much  money. 

LUMLEY.    Oh,  I  was  wilder  than  the  average. 

BRADFORD.  He  became  involved  in  an  affair  (To 
MRS.  WATERMAN)  I  think  we  called  them  affairs? 
(MRS.  WATERMAN  nods)  with  a  girl  in  the  chorus 
(Pause,  CATHERINE  looks  down)  That's  all  isn't 
it? 

MRS.  WATERMAN.  Why  of  course,  it  isn't  all, 
Cliff  or  the  affair  would  still  be  going  on.  Tell  the 
extent  of  it  now  that  you've  started  and  what 
stopped  it. 

BRADFORD.    The  Judge  stopped  it. 


THE  OTHER  GIRL  125 

JUDGE.  (Smiling)  Oh,  I  think  you  stopped  it, 
Doctor — I  settled  it. 

BRADFORD.  Yes— the  Judge  "settled  it"-— He 
paid  the  girl  some  money  and  got  back  Reggie's 
letters  and  I  went  with  Reggie's  mother  and  per 
suaded  Reggie  to  quit  following  the  opera  company 
around  and  go  back  and  finish  out  his  term  at  Col 
lege.  Now  that's  all  of  it,  isn't  it? 

LUMLEY.  (Pause)  Yes — and  that  was  a  good 
deal  worse  than  this  little  flyer  last  night. 

BRADFORD.  Of  course,  but  men  expect  women  to 
forgive  them — they  are  seldom  equal  themselves  to 
forgiving  women. 

LUMLEY.  They  should  be  and  a  man  of  your 
calling  above  all  others. 

BRADFORD.  So  you  say  my  dear  Reginald  when 
you're  advising  me.  Suppose  you  were  in  my  posi 
tion — You. 

LUMLEY.     (With  heroism)     I !    Why  then 

CATHERINE.  (Standing  up)  Oh,  stop — stop. 
It's  cruel  of  you  Doctor  Bradford — \ou,  the  only 
one  who  knows,  to  make  Mr.  Lumlev  commit  him 
self 

LUMLEY.  (Deprecatingly)  My  dear  Catherine, 
it  was  all  in  the  newspapers  at  the  time — thinly  dis 
guised 

CATHERINE.  Not  what  I  mean.  It  was  / — Cath 
erine  Fulton  who  was  going  with  Mr.  Sheldon  last 
night.  Estelle  locked  me  out  there  and  took  my 
place — see  the  door  where  I  broke  it.  (In  a  burst) 
and  now  I'm  going  out  of  the  room. 

BRADFORD.  (Stopping  her)  One  moment — 
where  are  you  going? 

CATHERINE.     Let  me  go  please — let  me  go. 

BRADFORD.  Yes,  in  a  moment.  I'm  learning, 
Miss  Catherine,  that  your  first  impulses  are  some 
times  unsafe. 

FULTON.     (Sternly)     I'll  take  her,  Doctor  Brad- 


126  THE  OTHER  GIRL 

ford.  (Does  so.  BRADFORD,  goes  to  LUMLEY) 
Catherine  !  Catherine  ! — I  wish  you  to  control  your 
self — my  daughter — we  have  some  apologies  to 
make  here. 

LUMLEY.  (Rising)  Rot!  This  isn't  any  time 
for  apologies.  I've  been  all  through  this  myself 
(Waves  FULTON  aside — puts  his  arm  about  CATH 
ERINE  who  still  cries  convulsively — starts  out — at  R., 
she  halts,  looks  at  him  an  instant  and  buries  her 
face  in  his  breast  with  an  added  burst.  LUMLEY 
gulps,  looks  back  at  the  others,  softly  waves  his  left 
hand  twice  as  if  fanning  them  back) 

(E.vit  zvith  CATHERINE.) 

FULTON.  (Pause)  You  kneiv?  (To  BRADFORD. 
BRADFORD,  nods)  'm.  (Looks  about)  Everybody 
knew  ? 

BRADFORD.    Only  Miss  Kitteridge. 

FULTON.  Oh.  (Turns  to  ESTELLE)  What  did 
she  say — "  you  took  her  place,"  Estelle  ? 

ESTELLE.    Yes,  Mr.  Fulton. 

JUDGE.      (Slowly)     Well— well. 

FULTON.  She  was  really — going  away  (ESTELLE 
nods)  with  that  prise  fighter?  (To  BRADFORD) 

BRADFORD.  (Comfortingly)  The  best  man  in 
the  world — in  his  class. 

FULTON.  (Mildly)  And  my  God!  (Pause) 
what  a  class — (To  ESTELLE)  is  she  in  love  with 
him? 

ESTELLE.     Not  now — no. 

FULTON.  Has  there  been — any — any  dreadfully 
compromising  thing 

ESTELLE.     No ! 

FULTON,  'm.  (Pause.  Goes  to  ESTELLE)  My 
dear  Estelle — (Pause)  My  dear  Estelle!  (Turns 
to  others)  What  can  I  say  to  this  noble  girl? 

JUDGE.     (With  watch)     You  might  tell  her  it's 


THE  OTHER  GIRL  127 

time  to  go  to  the  police  court — That's  what  I  came 
to  say  to  her. 

BRADFORD.  That's  not  necessary,  now,  is  it? 
There'll  be  no  complaint. 

JUDGE.  We  were  released  from  the  Poilce  Station 
last  night  under  bond  to  appear  this  morning. 

FULTON.  We'll  forfeit  the  bond — forfeit  it. 
Pay  anything — what  is  it? 

JUDGE.  It  is  m\  word.  The  young  lady  was  re 
leased  on  my  personal  promise  to  produce  her  in 
court  this  morning.  It  will  only  be  an  appearance, 
my  dear — probably  not  have  to  say  anything. 

BRADFORD.  I  shall  go  with  you.  (Easily  to 
ESTELLE)  It  doesn't  matter,  my  dear. 

MRS.  WATERMAN.  Is  Estelle's  name  in  the  police 
record  ? 

JUDGE.     No,  we  appear  under  an  alias. 

BRADFORD.     An  alias? 

JUDGE.  Yes.  The  Kid  in  the  fulness  of  his  ex 
perience  gave  a  fictitious  name. 

FULTON.  Then  why  must  Estelle  go?  A  ficti 
tious  name? 

JUDGE.  The  name  is  fictitious,  but  it  calls  for  a 
real  girl. 

FULTON.  Ah — well — we  can  at  least  bear  our 
part  of  the  consequences.  If  any  girl  will  do — 
Catherine  shall  go.  (To  door} 

ESTELLE.     Oh,  no,  Mr.  Fulton. 

FULTON.     (Firmly)     Yes.     (Exit) 

BRADFORD.  (To  JUDGE)  What  will  be  the  char 
acter  of  the — the  exercises  in  the  police  court  i 

JUDGE.    The  proceeding? 

BRADFORD.    Yes. 

JUDGE.    They'll  call  out  the  case — we  appear— 

ESTELLE.  Do  I  say  "  present  " — or  just  hold  up 
my  hand  ? 

JUDGE.    Neither.    You  come  up  to  the  bar  or  rail- 


128  THE  OTHER  GIRL 

ing  with  me.  I  do  the  talking  for  our  side  unless 
of  course  you  should  be  put  on  the  stand. 

BRADFORD.    Is  that  likely? 

JUDGE.  Not  unless  your  pugilistic  friend  disputes 
the  testimony  of  the  policeman — who  will  be  the 
only  complaining  witness  if  Lumley  stays  away. 

HENRY.     Well,  ask  him  not  to  dispute  it. 

JUDGE.  I  shall. — But  I  believe  that  he's  profes 
sionally  disposed  to  rebuttal  isn't  he? 

BRADFORD.     What  is  the  punishment? 

JUDGE.  I  haven't  read  the  ordinance.  Some  fine 
probably. 

HENRY.    I'll  pay  the  fine  if  he'll  keep  still. 

(KiD    and    MYRTLE    appear    at    glass    door — KID 
knocks.) 

MRS.  WATERMAN.    This  is  the  man  now,  isn't  it? 
BRADFORD.     Yes. 

(HENRY  goes  to  door.) 

MRS.  WATERMAN.  Why  doesn't  he  ring  the  front 
bell? 

HENRY.  He's  always  used  the  tradesman's 
entrance,  my  dear.  (Opens  door)  Come  in,  Mr. 
Sheldon. 

KID.  (Entering)  My  friend  Miss  Myrtle  Mor 
rison  Mr.  Waterman.  (Introducing) 

HENRY.     (Bowing)     Miss  Morrison. 

KID.    ( With  pride  )    The  "  head  liner  "  at  Keith's. 

HENRY.    Pleased  to  meet  you. 

KID.  (Still  introducing)  Mrs.  Waterman!  the 
minister's  sister. 

MYRTLE.     Good-morning. 

MRS.  WATERMAN.     Good-morning. 

MYRTLE.    I  feel  like  a  "  Reuben  "  coming  in  the 


THE  OTHER  GIRL  129 

back  way,  but  Mr.  Sheldon  seemed  so  very  much  at 
home  I  hope  you'll  excuse  me. 

BRADFORD.  (Advancing}  Quite  right.  Good- 
morning. 

MYRTLE.     Good-morning,  Doctor. 

BRADFORD.    May  I  present  Miss  Kitteridge? 

MYRTLE.     How  are  you? 

BRADFORD.  Miss  Kitteridge  is  the  lady  who  was 
in  Mr.  Sheldon's  automobile  last  night  when — 

MYRTLE.  (Freezing  up.  To  BRADFORD)  Yes, 
I've  heard — (To  ESTELLE)  Do  you  know  Mr. 
Sheldon  pretty  well? 

ESTELLE.  I  can't  say  that  I  do !  I've  met  him 
only  occasionally  here  when  he  has  come  to — to 
assist  Doctor  Bradford. 

KID.  (With  an.viotts  honesty)  Just  as  I  tell 
you,  Myrtle.  (To  others)  We  came  in  the  back 
way  really,  to  see  them  two  mattresses — she  thought 
the  whole  story  was  a  steer.  You  know  that  ring 
I  lost  wrestling  with  you,  Doctor?  (Steady  gaze 
at  BRADFORD) 

BRADFORD.  (Returning  gaze)  No,  I  don't  re 
member  it.  (Pause.  KID  smiles  tolerantly)  Do  I  ? 

KID.  Of  course  you  do.  Two  rubies  and  a  pale 
sapphire. 

BRADFORD.     I  remember  the  ring — Oh,  yes. 

KID.  Well — I  lost  it  wrestling  out  there  with 
you. 

BRADFORD.     Oh. 

KID.  And  coming  through  the  grass  this  morn 
ing  there  it  was — Myrtle  saw  it  herself.  Show  it  to 
them  Myrtle. 

MYRTLE.  (To  all)  Oh,  yes— just  there  by  the 
railing — but  now  really,  would  any  girl  swallow  that 
story — at  first  (Then  to  KID)  And  you  know  your 
self  Kid  you've  handed  me  a  few  with  alfalfa  on 
'em — (Shirty — to  ESTELLE)  Did — you — tell — him 


1 30  THE  OTHER  GIRL 

you  wanted  an  automobile  to  take  flowers  to  sick 
people  ? 

KID.  (Quickly)  I  didn't  say  she  said  so,  Myrtle 
— that  was  just  my  guess  at  a  minister's  lady.  (To 
BRADFORD)  Didn't  you  tell  me,  Doctor,  that  her 
strong  suit  was  givin'  things  to  the  poor? 

BRADFORD.     Yes — practically  that. 

KID.  (Vindicated)  I  have  to  prove  everything 
I  tell  that  girl.  (To  JUDGE)  Didn't  I  say  "  Myrtle 
Morrison"  to  the  sergeant  last  night? 

JUDGE.    You  did. 

KID.  (To  MYRTLE  plausibly)  I  don't  want  my 
name  in  the  papers  with  any  woman's  but  yours. 
(Sees  that  MYRTLE  is  regarding  the  JUDGE  fixedly) 
This  is  Judge  Bates — our  lawyer — (Pause)  What's 
the  matter? 

MYRTLE.  Oh!  Judge  Bates!  (Pause)  I 
thought  I'd  seen  him  some  place.  Don't  you  remem 
ber  you  collected  some  money  that  was  due  me — at 
New  Haven? 

JUDGE.     Perfectly. 

MYRTLE.  (To  KID)  When  I  was  with  Rice. 
(To  JUDGE)  I  was  Sissy  Crevecoeur  on  the  bills 
at  that  time,  but  my  friends  thought  that  was  kind 
of  "  ten,  twent  and  thirt "  so  I  changed  it.  And 
you're  the  lady  that  was  with  Kid  in  the  choo  choo  ? 
(Pause — ESTELLE  bows)  He  said  you'd  have  to 
be  in  court  this  morning. 

JUDGE.    Yes,  and  it's  time  now. 

MYRTLE.    Just  time? 

JUDGE.    Yes. 

MYRTLE.  Then  wait  awhile.  It  will  only  help 
our  entrance.  (Pause)  You  know  I'm  going  in 
your  place. 

ESTELLE.     (Gladly)     Oh,  are  you? 

MYRTLE.    Yes. 

BRADFORD.     (To  JUDGE)     Is  that  possible. 

MYRTLE.    Of  course  it's  possible.    Kid's  seen  the 


THE  OTHER  GIRL  131 

policeman  and  squared  it  with  him  and  who  else 
knows  the  the  difference — and  I'm  to  be  interviewed 
for  the  evening  papers.  I'm  going  to  get  a  doctor's 
certificate  for  nerves  and  cut  out  to-day's  matinee. 
Don't  you  worry  about  me,  Miss  Kitteridge,  I  like  it. 

MRS.  WATERMAN.  It's  very  amiable  of  you,  I'm 
sure,  Miss — Miss  (Pause) 

MYRTLE.  (To  MRS.  WATERMAN)  Morrison! 
Not  at  all. 

BRADFORD.  (To  JUDGE)  But  your  personal 
promise  to  produce  the  lady  herself. 

JUDGE.  Miss  Morrison  on  the  books  and  as  I 
understand  it,  that  is  the  lady's  name. 

KID.  Certainly — I  was  laying  pipe  for  this  last 
night. 

MYRTLE.  (To  ESTELLE)  Did  you  see  Henry 
Miller  in  "  The  Only  Way  "?  (ESTELLE  shakes  her 
head)  Did  you?  (To  MRS.  WATERMAN) 

MRS.  WATERMAN.     No — 

MYRTLE.  Lots  of  people  missed  it — but  it  was 
elegant.  He  takes  another  man's  place  that's  goin' 
to  be  killed — He  looked  so  much  like  the  other  one 
that  the  policeman  didn't  know  him.  Oh,  I  just 
wished  I  was  a  man  and  could  have  one  chance  at 
that  part;  and  now  if  I  take  your  place  this  morn 
ing,  it's  the  same  business  exactly.  I'm  afraid  it 
sounds  selfish  and  of  course  I  don't  mean  it,  but 
we'd  have  appeared  in  a  much  more  important  Court 
room,  if  Kid  killed  the  man. 

(Enter  LUMLEY.) 

LUMLEY.  (Seriously)  Judge  Bates  are  you 
quite  sure  it's  necessary  to — (Pauses  seeing  KID) 
Oh!  (With  coldness  and  reserves) 

KID.     Why,  you're  downstairs,  ain't  you? 

LUMLEY.  (Slowly  and  with  disapproval)  Oh, 
Sheldon,  Miss  Fulton  has  told  me  fullv  that 


1 32  THE  OTHER  GIRL 

BRADFORD.  (Interrupting — to  KID)  Miss  Fulton 
is  the  lady  Mr.  Lumley  introduced  to  you  last  night 
as  his  fiancee.  (Then  to  LUMLEY)  Mr.  Sheldon 
can  now  reciprocate,  Reginald — this  young  lady  Miss 
Crevecoeur — (The  name  strikes  LUMLEY) 

MYRTLE.     Morrison  now. 

( LUMLEY  recognises  her.) 

BRADFORD.  Yes — Morrison  now — this  is  Mr. 
Sheldon's  fiancee. 

LUMLEY.     (Slowly)     Oh — oh— How  are  you? 

MYRTLE.     (A  bit  nastily)     How  are  you? 

BRADFORD.  You've  probably  seen  Miss  Morrison 
frequently,  being  an  old  theatre  goer. 

LUMLEY.     Yes — the  face  is  familiar. 

BRADFORD.  And  perhaps  the  manner?  Miss 
Morrison  is  doing  us  all  a  great  service,  Reginald, 
She  is  going  to  take  the  place  of  the  lady  in  the 
automobile  with  Mr.  Sheldon — (Pause) 

JUDGE.  (Pause — explains)  In  court  this  morn 
ing. 

BRADFORD.    Yes — and  elsewhere. 

KID.  (With  meaning)  I  appreciate  what  you're 
doing  in  keeping  still,  Mr.  Lumley. 

BRADFORD.  (To  MYRTLE  who  doesn't  under 
stand)  This  is  the  gentleman  you  ran  over. 

MYRTLE.  Him!  (BRADFORD  nods.  MYRTLE 
gurgles  in  glee — as  that  rather  "evens  up"  things) 

KID.  (Extending  hand)  Shake?  (Pause  as 
LUMLEY  does  not  respond) 

BRADFORD.  (Persuading)  Let's  all  have  some 
"  charity,"  Reginald. 

KID.  You  know  I  never  even  met  you  till  last 
night. 

BRADFORD.  And  then  informally — come  Reginald. 
It  isn't  as  if  it  were  an  ordinary  scorcher :  "  The 
best  man  in  the  world  in  his  class  ". 


THE  OTHER  GIRL  133 

LUMLEY.  (IVith  impulse)  You're  right.  (Takes 
hand)  And  I  don't  blame  her — we're  none  of  us 
angels.  (Exit) 

JUDGE.     Well,  it's  time  now',  isn't  it? 

MYRTLE.    Yes.     (Starts  up) 

KID.    Will  you  have  a  seat  in  the  automobile  ? 

JUDGE.  Thank  you,  sir — a  cab.  There  are  those 
papers,  Doctor. 

(Km  and  MYRTLE  to  back  door.) 

BRADFORD.    Thank  you. 

JUDGE.  (To  HENRY  and  MRS.  WATERMAN)  I'll 
'phone  the  decision,  Henry. 

HENRY.    Here  or  the  office? 

JUDGE.     Here.     (Exit  i  R.) 

MYRTLE.  If  the  Kid  don't  win  it'll  be  the  first 
decision  he  ever  lost. 

BRADFORD.    Judge  Bates  is  usually  successful. 

(MYRTLE  shrugs  doubtfully.) 

KID.     One  of  the  biggest  lawyers  in  New  York. 
MYRTLE.     (Regretfully)     I  know;  but  if  we  only 
had  Abe  Hummell. 

(Exit  with  KID.     As  KID  closes  door  more  glass 
falls — MRS.  WATERMAN  winces.) 

HENRY.  Never  mind,  Mattie,  I'll  get  you  a  new 
one. 

MRS.  WATERMAN.  A  new  one.  That  was  three 
hundred  years  old. 

HENRY.     (Sitting)     Is  the  coffee  cold? 

MRS.  WATERMAN.     Yes. 

ESTELLE.     (Taking  pot)     I'll  get  some  more. 

MRS.  WATERMAN.  No,  my  dear — why  should 
you? 


I34  THE  OTHER  GIRL 

ESTELLE.  (With  a  look  at  BRADFORD)  Why 
shouldn't  I  ? 

BRADFORD.  (Taking  the  coffee  pot  from  her) 
May  I  tell  them? 

ESTELLE.    If  you  wish. 

BRADFORD.     Estelle  has  promised  to  be  my  wife. 

MRS.  WATERMAN.  (Half  pleased  and  half  as 
tonished)  Why,  Cliff! 

BRADFORD.    Yes.     (Puts  arms  about  ESTELLE) 

(ANN  appears  opening  back  door  and  dressed  to 
leave.) 

ANN.  My  lands !  (Shuts  the  door — Exit — more 
glass  falls — MR.  and  MRS.  WATERMAN  start  at  the 
clash) 

Curtain 


